LIBRARY OF CONGRESS. 

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UNITED STATES OF AMERICA. 



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A Monumental Work on an Important and Interesting Subject. 



THE 

TABERNACLE of ISRAEL 

IN THE DESERT. 

## «§# »§># 

By JAMES STRONG, S.T.D., LL.D. 

X 

^ J 1 v^ - 

Q>\ ^G 3 1888 J ^ 

II I l l l ■■ I l l l l ll ll lill 1 1 i 1 1 l l ll ll ■■ ll ll ■;■ l ■ l l l l :■<■■■ l I l ll l o I l 1 1 i I l it l l I in I [|| I II II !,,,! I ,,,,, , i m i i , I | | || | : | i ■ i i i | 



The Tabernacle of Israel 

IN THE DESERT. 



This is an entirely original treatise on a theme that has hitherto 
baffled the skill of every interpreter. At last, it is believed, all its 
problems have been satisfactorily solved, and the whole matter is clearly 
expounded. This monograph is destined to be the standard henceforth, 
with all candid inquirers, on the topic which it discusses. The entire 
production consists of two closely related parts. 

I. There are six magnificent colored Lithographs, each 30 by 42 
inches in size, showing everything plainly across an ordinary lecture- 
room. A glance at these graphic plates will convey a more just and 
life-like idea of the Tabernacle, with its appointments and surroundings, 
as they actually were, than any other representation extant. They are 
accurately and artistically drawn, and exhibit respectively : 

r. A ground-plan of the Tabernacle and its court, with a bird's-eye sketch of 
the Desert and the route of the Israelites; also an elevation of the eastern 
entrance. 

2. A landscape view of the Tabernacle, as pitched before Mount Sinai. 

3. A landscape scene of the erection of the Tabernacle at a stopping-place 
in the Desert. 

4. Front views of the exterior of the Sanctuary, of the interior of the Holy 
Place, and of the interior of the Most Holy Place, with one of the wall curtains 
extended. 

5. The furniture of the Tabernacle, all on a uniform scale. 

6. The vestments of the Tabernacle : — Levite, priest and high-priest in 
official costume, with details of the last. 



II. There is, accompanying these pictures, a neat volume of letter-- 
press, with appropriate wood-cuts, explaining and corroborating the 
details of the lithographs, and constituting a complete exposition of the 
whole subject. This is divided into chapters, treating respectively the 
following branches of the subject : 

i. An introduction to the Tabernacle, setting forth the occasion, method, and 
purpose of the book. 

2. The authorities on the Tabernacle, giving an account of the literature and 
leading works on the subject, with the original sources of information. 

3. The history of the Tabernacle, and of the articles contained in it, from the 
time of Moses to the Babylonian Captivity. 

4. The structure of the Tabernacle, elucidating and vindicating the fabric 
and mode of combination in minute detail, so that it could be perfectly recon- 
structed from these specifications. This comprises the larger part of the volume, 
which is not bulky in all ; and the particulars are given with a thoroughness and 
exactitude not heretofore attempted. Everything is proved, on the plan pro- 
posed, to come out with perfect exactness and propriety; and the harmony, 
compactness, beauty and stability of the edifice, as well as its convenience for 
transportation, are a full demonstration of the correctness of the details. The 
key of the puzzle has evidently been discovered. The Scriptural description is 
shown to be true and definite to the last particular, and all concurrent statements 
of other parts of the Bible are found to be consistent. The whole is given in 
language free from technical scholarship, and intelligible to ordinary readers, yet 
embracing the results of the best modern philology and archaeology. The author 
has extraordinary advantages in this line, and has made the subject a study for a 
life-time of professional pursuits in this direction. Oriental customs are intro- 
duced, as throwing a flood of light on many points inscrutable to the older 
explorers in this field. Among the most important discoveries of the author 
under this head may be mentioned the form and adjustment of the " corner- 
boards," a failure in which has led all previous interpreters astray at the foundation ;, 
the relation and application of the sixth goats'-hair curtain, which has never 
before been explained in conformity with the phraseology of the sacred text and 
the obvious needs of the case; the fitting size, the mode of suspension, and the 
peculiar folds of the colored curtains, with the position of the figures embroidered 
on them, and especially the distribution of their colors ; the shape and posture 
of the cherubim ; and the style of the various pieces of apparatus and costume,, 
including the mysterious Urim and Thummim. 



5. The symbolism of the Tabernacle has been treated with remarkable fullness, 
and yet with great caution. The significance of the different emblems has been 
based, not upon fantastic conjecture, or traditionary caprice, but upon Scriptural 
warrant and sound common sense. The central meaning of the whole, and of its 
several parts and elements, has been developed in such a way as cannot but com- 
mend it to the piety and good taste of Christian believers. Among the most 
striking discoveries in this department may be mentioned the functional import 
of the gradually increasing sanctity of the several apartments, from the outer 
court to the inmost shrine of the awful Majesty, with its cherubic figures standing 
as sentinels at the entrance and around the walls ; the cherubic statues, as 
representatives of the natural laws of God, guarding the receptacle of His moral 
law ; and above all and through all, the sacred colors, " blue and purple and 
scarlet," always named in the proper Hebraic order, with the "gold" (yellow) 
and the " fine linen " (white), spelling out the worthy hierogram of the Atone- 
ment, "Heaven's royal BLOOD purchases purity" for the fallen race of man. 
This central legend, emblazoned on every avenue to the divine Presence, and 
also on the drapery of the pontifical plenipotentiary, silently proclaimed to the 
devout worshipper the grand secret of the one true faith, devised in the eternal 
counsels of the Almighty. 

The work is timely for the elucidation of the International Sunday- 
school Lessons of the present year, which embrace this portion of the 
history of Israel ; and it will be indispensable to the equipment of every 
minister's and Bible student's library for all time to come. 

The price for both parts of the work complete is $5. 

HARRIS, JONES & CO., Publishers, 

PROVIDENCE R.I. 



the: 



TABERNACLE OF ISRAEL 



IN THE DESERT; 



A COMPANION VOLUME TO THE PORTFOLIO OF PLATES, 



EXPLANATORY OF THE PARTICULARS, 



WITH DETAILED PLANS AND DRAWINGS, AND LETTER-PRESS 
DESCRIPTIONS. 



BY JAMES STRONG, S.T.D., LL.D. 



-r ' 



H^.n.ms, .TOWES cfc oo. 

PROVIDENCE, R. I. 
1888. 



v*f 



Copyright, 188S, by JAMBS STRONG-. 



CONTENTS. 



PAGE. 

I. Introduction 1 

IT. Authorities 3 

i. Ancient 3 

1. Sacred 3 

2. Non-Biblical 3 

ii. Modern 4 

1. General 4 

2. Special . . 5 

III. History 9 

i. Ante-Sinaitic 9 

ii. Mosaic 9 

iii. Davidic 10 

IV. Structure 12 

i. Court 12 

1. Circuit 12 

2. Contents 17 

(1.) Altar 17 

(2.) Laver 19 

ii. Fane 19 

1. Walls 21 

(1.) Planks 21 

(2.) Sockets 23 

(3.) Bars 25 

(4.) Stays 25 

(5.) Sheathing 26 

2. Roof 26 

(1.) Canvas 27 

(2.) Supports 32 

3. Hangings 33 

(1.) Door-screen 33 

(2.) Side-curtains 34 

4. Furniture 40 

(1.) Show-bread table 41 

(2.) Incense-altar 44 

(3.) Candelabrum 45 

(4.) Trumpets 48 



PAGE. 

5. Additional Remarks 48 

(1.) Manufacture 49 

(2.) Transportation 49 

iii. Shrine 51 

1. Door-vail 51 

(1.) Embroidery 51 

(2.) Support 52 

(3.) Position 52 

2. Ark 54 

(1.) Form 55 

(2.) Cherubim 55 

(3.) Contents i 57 

3. Perfumes 59 

(1.) Powder 59 

(2.) Paste 60 

iv. Regalia 60 

1. Levitical 60 

2. Sacerdotal 61 

(1.) Drawers 62 

(2.) Tunic 63 

(3.) Girdle 63 

(4.) Cap 63 

3. Pontifical (special) 64 

(1.) Robe 65 

(2.) Ephod 66 

(3.) Breastplate 67 

(4.) Urim 69 

V. Symrolism 71 

i. Proportion 73 

1. Decimal (the fingers) 74 

2. Septenary (the week) 74 

3. Quadruple (part of seven) 75 

4. Triple (remainder of seven) 75 

5. Double (dualism) 75 

6. Single (unity) 75 

ii. Color 76 



CONTENTS. 



PAGE. 

1. Black (shade) 77 

2. White (purity) 77 

3. Blue (the sky) 78 

4. Purple (royalty) 79 

5. Crimson (blood) 79 

6. Yellow (the sun) 79 

iii. Figure 81 

1. Rectangular (regularity) 81 

2. Round (symmetry) 81 

3. Cherubim (natural law) 82 

4. Arks (preservation) 85 

(1.) Of Noah (dimensions) 86 

(2.) Of the Covenant (style) 87 

(3.) Of bulrushes 88 

5. Tables of the decalogue (moral 

law) 88 

6. Ornaments (beauty) 90 

iv. Material (in construction) 91 

1. Wood (support) 91 

2. Copper (durabilty) 92 

3. Silver (clearness) 92 

4. Gold (value) 92 

5. Linen (cleanliness) 92 

6. Wool (warmth) 93 

7. Goats' hair (compactness) 93 

8. Rams' skin (protection) 93 

9. Fur (softness) 93 

10. Rope (strength) 93 

11. Gems (hardness) 93 



PAGE. 

v. Elements (in worship) 93 

1. Water (regeneration) 93 

2. Fire (zeal) 93 

3. Flesh (substance) 93 

4. Fat (choice) 93 

5. Blood (life) 93 

6. Flour (vigor) 93 

7. Oil (richness) 93 

8. Wine (cheerfulness) 93 

9. Salt (wholesomeness) 93 

10. Spice (acceptability) 93 

vi. Sanctity (comparative) 93 

1. Court (special ministry) 93 

(1.) Laver (piety) 94 

(2.) Altar (consecration) 94 

2. Holy Place (functional priesthood) 94 
(1.) Candelabrum (intelligence) . . 94 
(2.) Show-bread Table (conscien- 
tiousness) 94 

(3.) Incense-altar (prayer) 94 

3. Most Holy Place (representative 

high-priesthood) 94 

4. Mercy -seat (deity) 94 

vii. Revelation (gradual) 94 

1. Shekinah (general theophany). .. 95 
(1.) Cloud (outward guidance). . . 95 
(2.) Mercy-seat (grace) 95 

2. Urim and Thummim (inward 

guidance) 95 

3. Tables of the Law (ethics) 96 



COLORED LITHOGRAPHS. 



PLATE I. Ground-plan of the Tabernacle, with Elevation of the Door-way to the Court, i 
a Bird's-Eye Sketch of the Desert of Sinai and the Surrounding Regions. 

PLATE II. The Tabernacle as pitched before Mt. Sinai. 

Explanations. — The view is from the North. The wide plain in the foreground is that 
of er-Rahah. The central mountain in the background is Jebel Musa (in the wider 
application of the name), of red granite, seamed and cracked as if by fire ; and the 
pinnacle immediately in front is Ras Sufsafeh. At the right is Jebel Ghubsheh, of 
dark porphyry, with the valley of the Lejah between. At the left is Jebel ed-Deir, 
inclosing the valley of the same name, so-called from the monastery of St. Catherine 
situated in it. The tents scattered around are those of the leading Israelites, the 
upright octagonal one being supposed to be that of Moses himself. (The regular 
encampment around the Tabernacle is not here exhibited, as that arrangement 
appears to have been made for the march at a later period than the first erection at 
Sinai.) The plain has a few stunted bushes, and a couple of rills issue from-the 
valleys on either side of the middle cone. In the foreground is a side-view b£ the 
Tabernacle (enough of the front being shown to give a general idea of its form), 
surrounded by the Court. The cloudy Pillar is resting on the roof over the Mercy- 
seat. A Levite is raking together the embers on the Altar of Burnt-offering, and 
a priest is washing his feet at the Laver. Outside the high-priest is taking the 
scape-goat to the man who is to lead it away into the wilderness. 

PLATE III. Erection of the Tabernacle at a Stopping-place in the Desert. 

Explanations. — The view is from the South. The background is the pass of Wady el-Ain 
(in the heart of the Desert east of Mt. Sinai), so called from a spring that sends a small 
stream through the valley.* The mountains rise about 3,000 feet perpendicularly. 
The Levites are seen busy in unloading the wagons, rearing the walls of the Taber- 
nacle, and bringing the poles, the sockets and the various pieces of furniture. A 
few priests (Aaron's sons) are sitting or standing by, superintending the work. All 
are in the common Oriental habiliments of secular life, as the sacred order wore 
their distinctive costumes only when on official duty. The ladder in the foreground, 
obviously needful in adjusting the fixtures to the tops of the planks, is like those 
depicted on the monuments as used by the ancient Egyptians in scaling the walls of 
hostile cities. The cloudy pillar hovers in the air, indicating the spot for the 
encampment. 



* It is not certain that the main line of the Israelites, 
including the Tabernacle, actually passed through this 
particular gorge, although they must once at least have 
journeyed very near it ; but it is strikingly graphic of 
the character of the central region of the Sinaitic pen- 



insula. All the features of the landscape, even to the 
minutiae of the human faces cut by nature in profile on 
the edges of the left-hand rocks, are faithfully copied 
from the original photograph. 



vi COLORED LITHOGRAPHS. 

PLATE IV. Front views of the Tabernacle. 

A. Exterior of the Sanctuary. 

B. Interior of the Holy Place. 

0. Interior of the Most Holy Place. 
D. One of the Wall-Curtains (extended). 
Explanations. — These apartments are as they would appear from a slight altitude on the 
East, and the scale of course is applicable only to the front openings, but the parts 
in perspective are proportional. The stay-cords are removed so as to afford an 
unobstructed view. The furniture is seen placed on fur rugs. The side-curtain 
exhibited is the second in order from the front on the right, and is shown as made up 
but not hung. It must be borne in mind that the colors of the woollen woof on all 
these vertical curtains are reduced in intensity by the white ground or cross-lines of 
the linen warp, so that the violet shows as sky-blue, the purple as a deep marone, 
and the crimson as a light cherry. 

PLATE V. Furniture of the Tabernacle. 

A. Altar of Burnt-offering, with its "Vessels." 

B. Altar of Incense. 
G. Silver Trumpets. 

D. Laver. 

E. Candelabrum, with its "Vessels." 

F. Table of Show-bread, with its "Vessels." 
0. Ark and "Mercy-seat," with the Cherubim. 

PLATE VI. Vestments of the Tabernacle. 

A. Levite (in working garb). 

B. Priest (in sacred dress). 

G. High-priest (in full costume). 

D. The Pontifical regalia (in detail). 

i. Tunic, ii. Robe. iii. Girdle (extended), iv. Ephod (side view), v. Breast- 
plate (back side, open). vi. One of the shoulder studs (full size), a. Face. 
6. Back. 
Explanations. — The Levite holds the tools usual for putting up a tent (a mallet and a 
pin), the priest the instruments of sacrifice (a knife for slaying the victim, and a 
bowl for catching the blood), and the high-priest the utensils for performing the 
rites on the day of annual atonement (a censer and a bowl for blood).* The articles 
of his apparel separately exhibited are of such a form or in such a position as could 
not be fully shown on his person. The lettering on his frontlet and breastplate is in 
the archaic Heb. character, substantially after the style of the Siloam inscription 
(the earliest extant, but the latest discovered), which we have accommodated to our 
purpose by a somewhat greater uniformity in the size and slope of the principal 
strokes. 



* According to the natural interpretation of Lev. xvi, 
4, 23, 24, and the Rabbinic usage, the high-priest wore 
only a special suit of plain (apparently unbleached) 
linen apparel (including the innermost girdle), when 
he went into the Holy of Holies for these functions 
(whicli required several distinct entrances into that 
apartment— all of them, however, on that single day, 
Heb. ix, 7), also when he gave the scape-goat into the 



custody of the person (apparently within the Court) to 
take it away to the wilderness; but for the sake of 
distinctness we have, in our pictures, invested him with 
the complete official attire in both cases, and have made 
the latter act take place outside the Court. This is the 
more allowable, inasmuch as he was thus fully equipped 
during the other services of that day. 



WOOD-CUTS. 



1. The Jewish Utensils on the Arch of Titus at Rome facing 4 

2. Pillar with Rods and Hooks 15 

3. Altar of Burnt-offering, with the Grate drawn out 17 

4. Wooden Walls of the Tabernacle 20 

5. Comparison of the tenons and mortises with the rounds of a ladder 21 

6. Corner- plank of the Tabernacle ... 22 

7. Socket of the Tabernacle 23 

8. Arrangement of the Corner-sockets 24 

9. ' ' Tache " and Ankle compared 25 

10. Arab Tents in the South of Judah 27 

11. Roof-curtains as made up 29 

12. Rear Gable nearly closed by the Sixth Roof-curtain 30 

13. Fold in the Roof-curtain at the Corner 31 

14. Probable Form of the First and Third Tabernacles 33 

15. Section of Plank with Attachments 36 

16. Side-curtain furnished with Loops 37 

17. Arrangement of Side-curtain 38 

18. Corner-folds in Side-curtain 39 

19. Length of Colored loops by Triangulation 40 

20. Table of Show-bread on the Arch of Titus 41 

21. Transverse Section of Table of Show-bread 42 

22. Candelabrum on the Arch of Titus 45 

23. Concentric Arrangement of the Ornaments on the Candelabrum 45 

24. Comparison of each of the Enlargements on the Candelabrum with its natural Type. . . 47 

25. Lamp and its socket 48 

26. Cherubim of an Egyptian Shrine carried in a Boat by Priests 56 

27. A Fellah Peasant 61 

28. A Bedawin Sheik 61 

29. Modern Oriental Drawers for a Gentleman 62 

30. Modern Oriental Shirt 62 

31. Modern Oriental Girdle (extended) 63 

32. Modern Oriental Skull-cap : 64 

33. Modern Oriental Turban (folded) 65 

34. Ancient Egyptian Chief-Priest 66 

35. Ephod extended 67 

36. Twisted Chain 69 

37. Restoration of Noah's Ark 89 

38. Probable form of the Ark of Bulrushes 90 

39. The Acacia Seyal facing 91 



THE TABERNACLE OF ISRAEL, 



CHAPTER I. 



INTRODUCTION TO THE TABERNACLE. 

For more than thirty years the subject of this work has been an earnest study with 
the Author, and in the course of his investigations and comparisons he has procured 
and carefully examined every book of note treating upon it. In his article under 
that head in the Cyclopaedia of Biblical, Theological and Ecclesiastical Literature 
he embodied in a condensed form the results of these researches up to that time 
(1881), and he has since continued to pursue them with unabated interest. When 
therefore the publishers of this work proposed to him, in May, 1887, the preparation of 
a series of wall-sheets exhibiting the whole edifice and its connections on a large scale 
and in its minutiae, together with a brief Manual elucidating the same, he could not 
well decline so congenial a task, as it seemed likely to prove useful to Bible readers 
and students, especially in view of the International Sunday-School Lessons embrac- 
ing this topic. Accordingly he determined to explore the whole subject afresh, and 
to sift every particular to the bottom, aided by all the light that modern erudition 
and the latest researches can afford. This he has done faithfully and impartially, 
and he has endeavored to set forth the results in as clear and simple, yet as scientific 
and comprehensive language as he can command, with the best facilities of artistic 
co-operation.* How far he has succeeded in unravelling the entanglements which 
have hitherto baffled the skill and learning of interpreters, and in making the whole 
plain to the average comprehension, the intelligent reader, Avho will take the pains to 
follow him in his elucidations, will be able to judge for himself. He has here 
brought together everything thus far ascertained, that he judges adapted to be of 
service in conveying a just idea of that remarkable building, the first and (including 
its later development, the Temple of Jerusalem) the only one immediately devised 
and directly authorized by the Almighty himself as his place of special worship for 
his chosen people. As such it has ever since held a conspicuous position in the eyes 
and thoughts of saints, and in these later days of archaeological science it has still 



* The lithographs and engravings have been scrupu- 
lously copied from photographs, sketches, and color- 
ings made by the Author himself, carefully reproduced 
and improved by an experienced and skilful draughts- 



man under the Author's immediate superintendence, 
and the most minute pains have been taken to make 
them both graphic and accurate. 



2 INTRODUCTION TO THE TABERNACLE. 

retained its hold upon the reverent curiosity of an intelligent world. Great pains 
have been taken by learned men to restore it as fully as possible to the apprehension 
of modern Occidentals ; and the present effort, it is hoped, will not be regarded as 
over-ambitious in aspiring to do this more completely than heretofore for popular 
purposes. The Author has no pet theory to establish, nor any doctrinal influence to 
bias him ; he has simply aimed to collect, weigh and combine the information afforded 
by every source accessible, to incorporate whatever new features his own discoveries 
and comparisons have introduced, and to present everything really pertinent in as 
lucid and systematic a form as the topic allows.* He does not, in this little volume, 
think it worth while to controvert the various opinions expressed by others, so much 
as to indicate the conclusions which on the whole he believes will commend them- 
selves best to the common sense of general readers, after they have been put in 
possession of the facts in the case.f 



* We have studied the utmost possible brevity in 
our phraseology, and for the same reason have 
thrown most of the minute discussion into foot- 
notes. 

\ Some of the combinations, that require to be re- 
solved in the reconstruction of this unique specimen 
of architectural skill for a movable seat of worship, 
will be found so elaborate and profound as to argue 
a source higher than mere human ingenuity, and to 
evince, to the devout inquirer, that pervading sim- 
plicity and yet harmony which characterize whatever 
is the product of divine contrivance. If it be not 



deemed presumptuous in Saint Bernard of Clugny to 
aver that he never could have composed his famous 
"Jerusalem the Golden," in its peculiarly difficult 
metre, without special inspiration, we trust that we 
may not be charged with a lack of modesty in cher- 
ishing the thought of some measure of that spiritual 
aid in expounding this portion of Scripture, which 
we believe the sacred penman more fully enjoyed 
when he indited it. The Author — as he thinks he 
may without irreverence be permitted to say — seems 
to himself to have caught a glimpse of that model 
which was shown to Moses in the "mount of God;" 



CHAPTER II. 



AUTHORITIES ON THE TABERNACLE. 



I. "We naturally take these up in the order of time. 

1. The most trustworthy, as well as the fullest and most definite source of infor- 
mation concerning the Israelitish Tabernacle is of course the Bible, especially the 
classic passage (Exod. xxv — xxviii), which minutely prescribes the construction of the 
edifice and its apparatus, together with the parallel passage (Exod. xxxv — xl), which 
describes, in almost the same words, the execution of the task. The phraseology of 
the original record, although remarkable for its terseness, will be found, when 
minutely examined, to convey or to imply precisely enough to guide the intelligent 
reader in every important particular. 

Considerable additional light is thrown upon the subject by the specifications 
later made in the Scriptural account of the Temple of Solomon (1 Kings vi ; 2 Chron. 
hi, iv), including that seen in vision by Ezekiel (xl — xlii), both of which were modelled, 
in all their most essential features, after the plan of the Tabernacle, as we shall have 
occasion to see. Scattered notices are occasionally given elsewhere in Holy "Writ, 
which serve to confirm, complete or correct our inferences from these main fountains 
of specification. 

2. Of profane authorities in ancient times the principal one by far is Josephus, 
who in his well-known description of the earliest sacred building of the Jews (An- 
tiquities, III, vi, 2 — vii, 7), repeats, with some variation and a few original suggestions, 
the statements of Scripture on the subject. 

Very little information is contained in the Rabbinical writings of the Jews, 
which could aid us in reconstructing the Tabernacle,* and none at all in the litera- 
ture of any heathen nation of antiquity, except the Egyptians, whose temples were 
evidently a type, but only in the most general sense, of the Tabernacle and the 
Temple. For although both these edifices were expressly planned by the divine 
Architect (Exod. xxv, 40 ; 1 Chron. xxviii, 11, 12, 19), yet the triple arrangement of 
a shrine within a fane, and this again within an outer inclosure, was a marked feature 
of the noted temples with which the Hebrews had become familiar in Egypt. It is 
true that these structures, the remains of which have survived to the present day, 
were built at a much later date than that of the Exode, but they are doubtless succes- 
sors of earlier edifices resembling them in their main outlines. 



* Paine (in his second edition) has given a full 
translation, with copious annotations, of a curious 
old Hebrew document anonymously entitled Sippur- 



enu (i.e., "Our Record"), in which the unknown 
author's opinions corroborate some of his own con- 
clusions. 



4 AUTHORITIES ON THE TABERNACLE. 

In a similar way the sacerdotal regalia of the ancient Egyptians, and their sacri- 
ficial implements, as depicted upon their monuments, give us a partial clew to the 
intricacies of some of the Jewish priestly services and garments, especially that curious 
article called the ephod, and its mysterious accompaniments. (See Fig. M.) Like- 
wise the sacred Ark, with the cherubic figures upon it, is illustrated to some extent 
in the hieratic boat sketched on the sculptures as borne in procession by the Egyptian 
priests, and then deposited in the adytum of their temple. (See Fig. 26.) Assyriology 
also furnishes a few hints as to some particulars. 

From a most unexpected quarter there has come a clear ray to determine some 
of the vexed questions concerning the utensils of the Tabernacle, especially the 
Golden Candelabrum. Delineations of the successors of these objects, taken by the 
Romans on the fall of Jerusalem, appear upon the memorial arch of Titus at Rome, 
and are the more valuable as being undoubtedly authentic, and carved by contem- 
poraries. (See Fig. 1.) They are probably more elaborate, as was true of all the ap- 
paratus in the Herodian Temple, than those in the Solomonic structure, and still more 
so doubtless than the severe style of the earlier Tabernacle ; yet they serve a most 
important use in deciding where particulars are elsewhere lacking or uncertain. 
These specimens were copied by the indefatigable A. Reland in the last century, 
when they were perhaps less dilapidated than now ; and his drawings were printed 
in his learned monograph on the subject (De SpoMis Templi, etc., Utrecht, 1716, 
small 8vo ; 2d ed. by Schultze, 1775.) (See Figs. 20, 22.) This little work of Reland, 
like all his other archaeological investigations, is well-nigh exhaustive of the special 
topic on which it treats, so far as information was attainable in his day. The present 
appearance of the Arch of Titus is shown with photographic exactness in many 
published volumes, and the actual remains are open to the inspection of every tourist. 

Oriental usages, which, although ascertained chiefly by modern travellers, are of 
so permanent a character that they may fairly be ranked with antiquarian researches, 
aid us to a great extent in forming an accurate conception of the Tabernacle and its 
appliances. 

II. Writings of our own time are of course secondary in their authority on such 
a subject as this, but they cannot safely be ignored. On the contrary the wise and 
candid archaeologist will welcome and carefully weigh every new suggestion of other 
minds, earnestly devoted to the solution of the many problems still undeniably left on 
these difficult particulars. He may not, indeed he cannot, accept all their conclu- 
sions, for they often widely conflict with one another, and not unf requently contradict 
plain inferences from the language of the ancient record, or probable necessities of 
the case. 

1. Among the works of a general antiquarian character, that bear specially upon 
this topic, we first mention, as probably the most important, K. W. F. Bahr's Sym- 
holik des Mosaischen Gultus [Symbolism of the Mosaic "Worship] (Heidelberg, 2 vols. 
8vo, 1837-39 ; 2d ed. 1874), which, with much learning and judiciousness, discusses 
most of the architectonic as well as symbolic questions relating to the Jewish Taber- 
nacle (i, 56), and has been the chief treasure-house for more recent explorers in the 



MODERN SOURCES OF INFORMATION. 8 

same line. The subject is treated in most works on Hebrew Antiquities, such as 
those of H. Lund (Hamburg, 1695, 1738, 8vo), and J. L. Saalschutz (Konigsb., 
1855-6, 2 vols. 8vo) ; also in the critical commentaries on Exodus, especially those 
of M. Kalisch (London, 1855), C. F. Keil (translated, Edinb., 1866), and J. G. Mur- 
phy (reprinted, Andover, 1868) ; and of course in all Bible Dictionaries, from Calmet 
to Herzog. Kitto, in his Pictorial Bible (notes on Exodus), and Pailloux, in his 
Monographic du Temple de Salomon (Paris, 1885 ; chaps, xi and xii), have made 
some attempt at a reconstruction of the Tabernacle ; but they have elicited little if 
anything new or valuable on the subject. 

On special points, besides the work of Reland, noticed above, there are several, 
all in the olden style, of which the most important is that of J. Braun, Vcstitus 
Sacerdotum Hebrceorum [The Clothing of the Hebrew Priests] (Leyden, 1690, small 
4to ; 2d ed. much improved, Amsterdam, 1698). Braun's treatise fails chiefly, like most 
similar ones of his time, from lack of the light which modern travel and research have 
shed upon the subject. Its mode of discussion is rather from the European than the 
Oriental point of view. A similar criticism is applicable to the otherwise complete 
dissertation of Antonius Byneeus on ancient Hebrew shoes (De calceis Ilebrceorum, 
Dort, 1682, 12mo ; 1715, 8vo), which has some pertinence here. The treatise of Dr. 
S. I. Curtiss, Jr., entitled The Levitical Priests (Edinburgh, 1877, 8vo), is a reply to 
the objections of the destructive critics (Colenso, Kuenen, etc.) against the authentic- 
ity of the Pentateuch founded on the alleged discrepancies in the statements con- 
cerning the Mosaic cultus, and therefore discusses the archaeology of the subject but 
incidentally. 

2. The earlier monographs on this subject, such as those of G. Peringer (Historia 
Tabernaculi Mosaici, Upsala, 1668, 8vo), C. Mel (Grundliche Beschreibung der 
Stiftshiitte, Frankfort-on-the-Oder, 1709, 4to), Conradi (De Tabernaculi Mosis Struc- 
tura, Offenbach, 1712, 4to), S. Van Til (Commentarius de Tabernaculo Mosis, Dort, 
1714, 4to), A. Driessen (Mosis Tabernaculum, Utrecht, 1714, 4to), B. Lamy (De 
Tabernaculo Foederis, Paris, 1720, fob), A. Schultens (Mysterium Tabernaculi 
Mosis, Franeker, 1729, 4to), and J. G. Tympe (Tabernaculi e Monumentis Descrip- 
tio, Jena, 1731, 4to), being based almost exclusively upon traditionary or conventional 
interpretation and speculation, have long since become wholly obsolete. The same 
remark applies with nearly equal force to most of the essays on special points con- 
nected with the Tabernacle, such as those of J. J. Leone (De Glierubinis, Amsterdam, 
1647 ; Helmstadt, 1665 ; in the original Spanish, Amsterdam, 1654, 4to), the same 
author, Del Area del Testam.ento (Amsterdam, 1653, 4to) ; C. Geissler (De Cherubim, 
Wittenberg, 1661, 4to), A. Calov (De TJrim et Thummim, Wittenberg, 1675, 4to), 
G. Thym (Labrum Aeneum, Schwandorf, 1675, 4to), D. Weimar (De Suffitu Aro- 
matico, Jena, 1678, 4to), G. D. Ziegra (De Oleo Unctionis Sacro, Wittenberg, 1680, 
4to), J. B. Werner (De Propitiatorio, Giessen, 1695, 4to), G. Stillmann (De Cande- 
labro Aureo, Bremen, 1700, 4to), J. ab Hamm (De Ara Interiore, Herborn, 1715, 
4to), H. G. Clemens (De Labro Aeneo, Utrecht, 1725 ; Groningen, 1732, 8vo ; also 
in Ugolino's Thesaurus, xix), A. Clant (De Labro Tabernaculi, Groningen, 1733, 



6 AUTHORITIES ON THE TABERNACLE. 

4to), C. L. Schlichter {De Mensa Facierum, Halle, 1738, 4to ; also in Ugolino's 
Thesaurus, x), C. G. F. "Wolf {De Urim et Thummim, Leipsic, 1740, 4to), C. L. 
Schlichter {Be Lychnucho Sacro, Halle, 1740, 4to), C. W. Thalemann {Be Nube 
super Area, Leipsic, 1752, 4to ; 1771, 8vo), J. F. Stiebritz {Be Urim et Thummim, 
Halle, 1753, 4to), C. L. Sclichter {Be Suffitu Sacro Bebrceorum, Halle, 1754, 4to), S. 
Rau (JVubes super Area Foederis, Herborn, 1757 ; Utrecht, 1760, 4to), J. K. Velt- 
husen ( Von den Cherubinen, Brunswick, 1764, 8vo), W. F. Hufnagel {Ber Cherubhin, 
Frankfort-on-the-Main, 1821, 8vo), J. J. Bellermann {Die Urim und Thummim, 
Berlin, 1824, 8vo), T. P. C. Kaiser {Be Cherubis Mosaiois, Erlangen, 1827, 4to), C. L. 
Hendewerk {Be Seraphim et Cherubim, Konigsburg, 1836, 8vo), G. Smith {Doctrine 
of the Cherubim, London, 1850, 8vo), and A. McLeod {Cherubim and the Apocalypse, 
London, 1856, 8vo), the majority of which we have directly perused, besides numerous 
disquisitions in more extended archaeological works, in commentaries and in period- 
icals. 

Of later treatises expressly on the Jewish Tabernacle as a whole, the following is 
a nearly complete list, comprising those which we have personally and minutely ex- 
amined. 

(1.) Symbolik der Mosaischen Stiftshutte [Symbolism of the Mosaic Tabernacle]. 
Eine Vertheidigung Dr. Luther's gegen Dr. Bahr. Yon Ferdinand Friederich, 
Pastor zu St. Johannis in Wernigerode. Mit 23 Tafeln Abbildungen (Leipzig, 

1841, 8vo, pp. 369 and vi). This, as the title states, is in opposition to Bahr's ideal- 
istic symbolism, and reduces the Tabernacle to an enlargement of the human body, 
the proportions of which are fantastically compared with it. 

(2.) The Tabernacle in the Wilderness; the Shadow of Heavenly Things. Four 
Engravings, Coloured, and Inlaid, with Gold, Silver, and Brass, according to the 
Texts of Scripture, With Explanatory Notes. By W. G. Bhind (2d edition, London, 

1842, small folio, pp. iii and 36). This is but a more elegant reproduction of the 
older schemes, plans, and figures, with a few Scriptural and practical elucidations. 

(3.) Lectures on the Typical Character of the Jewish Tabernacle, Priesthood, 
and Sacrifice, Preached during Lent, 1850. By Forster G. Simpson, B.A., Curate of 
Ickworth, Suffolk (London, 1852, 12mo, pp. viii and 335). This, as the title shows, 
is a general exposition of the Levitical economy, from the popular Christian point of 
view, and therefore enters but slightly into critical details. 

(4.) Die Stiftshutte, von Wilhelm Neumann (Gotha, 1861, 8vo, pp. vi and 173). 
This elucidation proceeds almost entirely upon the analogies of Assyrian antiquities, 
which are far less synchronous and familiar with the Israelites than those of Egypt. 
The details are wrought out with much ingenuity, but are often highly grotesque. 
None of the essential problems of the structure are really solved. 

(5.) Die Mosaische Stiftshutte [The Mosaic Tabernacle], by Prof. Dr. Ch. 
Joh. Riggenbach ; with three lithographic Plates (Basel, 1862 ; 2d ed. 1867, 4to, pp. 
63). This is a brief, but scholarly treatise, presenting the essential features of the 
Tabernacle in a clear and succinct manner, but not attempting to solve all the abstru- 
of the subject. 



MODERN SOURCES OF INFORMATION. 7 

(6.) Solomon's Temple ; or, the Tabernacle • Thirst Temple • House of the King, 
or House of the Forest of Lebanon; Idolatrous High Places; the city on the Mount- 
ain (Rev. xxi) ; the Oblation of the Holy Portion ; and the Last Temple. With 
21 Plates of 66 Figures, accurately copied by the Lithographer from Careful Draw- 
ings made by the Author, T. O. Paine, LL.D., a Minister of the New Jerusalem 
Church (Boston, 1861, large 8vo., pp. 99 ; 2d ed. greatly enlarged, with new title, 
1885, pp. 200). This is by far the most imposing and profound work on the 
sacred edifices of the Jews hitherto published. The author is a careful scholar, and 
an acute thinker, and he has grappled with the difficulties of the Tabernacle in a 
masterful way. We regret our inability to coincide with all his conclusions, * but 
we gladly accept many of them as the only ones that appear to meet the exigencies 
of the case. He is singularly reticent on the symbolism of the subject. 

(7.) The Holy Vessels and Furniture of the Tabernacle of Israel, by H. W. 
Soltau, author of "An Exposition of the Tabernacle;" " the Priestly Garments and the 
Priesthood ; " etc. (London, 1865, oblong 4to, pp. viii and 67). With ten colored 
plates. Also, The Tabernacle of Israel Illustrated. By H. W. Soltau (London, 1870, 
oblong 4to, pp. 22). With nine colored plates. These are splendid little volumes, 
but lacking in critical value. They are altogether popular in their character. 

(8.) The Tabernacle and its Priests and Services described and considered in 
relation to Christ and the Church ; with diagrams, views and wood-cuts : by William 
Brown (2nd ed. Edinb. 1872', 8vo, pp. xv and 168). This is an honest attempt to 
elucidate the whole subject treated, and is executed with a very creditable degree of 
earnestness and precision. Some of its suggestions are original and ingenious ; but in 
many points it singularly fails to meet the just requirements of the case. The 
resources at the writer's command appear to have been limited, and his conclusions 
are therefore liable to be overthrown by a wider range of induction. 

(9.) History and Significance of the Sacred Tabernacle of the Hebrews, by 
Edward E. Atwater (New York, 1875, 8vo, pp. xiv and 448). With Illustrative 
Plates. This work contains little that is original, and therefore contributes but 
slightly to the elucidation of the subject beyond its predecessors. It is, however, a 
fair popular presentation of the theme, without aiming at any very critical purpose. 
The mechanism of the structure is very imperfectly wrought out. 

(10.) The Temples of the Jews, and the Other Buildings in the Haram Area at 
Jerusalem, by James Fergusson, Esq., D. C. L., F. It. S., Y. P. R. A. S., etc. 
(London, 1878, 4to, pp. xviii and 304). Illustrated by many Plans and Engravings. 
Tins superb volume treats but incidentally of the Tabernacle, summarizing the 
results previously arrived at by the author in his History of Architecture, and in his 
article on the Tabernacle in Dr. Wm. Smith's Dictionary of the Bible. As a pro- 
fessional architect, and a writer of much scholarly attainment, his views are entitled 
to great consideration. They are all ingenious, some of them well-founded, but others 



* His mode of forming the " corner boards " I adjoining side boards) deranges the harmony of the 
(hinging them whole, by means of rings, to the | building, and make3 a misfit of both sets of curtains. 



8 AUTHORITIES ON TEE TABERNACLE. 

preposterous. The book as a whole is infected with an excessive leaning to subjective 
opinions in favor of modern styles of architecture, which often disparages the ancient 
authorities. 

(11.) Ilam-Mishkan, the Wonderful Tent • an account of 'the Structure, Signi- 
fication, and Spiritual Lessons of the Mosaic Tabernacle erected in t/ie Wilderness of 
Sinai : by Eev. D. A. Randall, D.D. Illustrated by several plans and views (Cincin- 
nati, 1886, 8vo. pp. xlv and 420). This work, as the author himself states in his pref- 
ace, " is not intended as a book for scholars and critics." It is a popular and pleasing 
presentation of the main features of the subject, chiefly in the form of a series of 
imaginary dialogues or lectures by a learned and devout Rabbi, whom the author 
actually met during a journey through the Sinaitic Desert. No great amount of 
research or fresh information, of course, is to be expected from its scope and purpose. 

(12.) W. E. Stephens, of St. Louis, Mo., circulates " Christ in the Tabernacle," an 
engraving, reduced by photo-lithography from a large colored lithograph, entitled 
" The Tabernacle in the Wilderness," published by W. F. Broom, 25 Paternoster 
Square, London. It represents the Tabernacle (in the old style, with no details) as 
pitched on the plain of Mt. Sinai, with the tents of the tribes of Israel about it. 

Besides the works enumerated in the above review, we are aware of the existence of 
only the following that bear directly upon the general subject ; and of these, although 
we have been unable to procure a copy, we know enough to be satisfied that they con- 
tribute nothing material to the elucidation of the Tabernacle : P. D'Aquine, Disser- 
tation dtc Tabernacle (Paris, 1623, 4to ; and later) ; J. J. Leone, Af boeldinge van den 
Tabernackel (Amsterdam, 1647, 4to ; the original Spanish, ibid, 1654, 4to) ; J. 
Recchiti, Chokmath ham-Mishkan [Wisdom of the Tabernacle] (in Hebrew, Mantua, 
1776, 4to) ; J. Kitto, The Tabernacle and its Furniture (London, 1849, 4to) ; J. 
Popper, Der Biblische Bericht uber die Stiftshutte (Leipsic, 1862, 8vo) ; T. Wan- 
germann, Die Bedeutung d»r Stiftshutte (Berlin, 1866, 8vo.) 



CHAPTER III. 



HISTORY OF THE TABERNACLE. 



I. It appears (Exod. xxxiii, 1) that the name " Tabernacle of the Congregation " * 
originally applied to an ordinary tent, probably the one officially occupied by 

himself ; and that this was at first set apart by the token of the divine pres- 
ence at its door-way as the regular place of public communication between Jehovah 
and the people. (See 'Fig. 14.) This was prior to the construction of what was 
afterwards technically known as the Tabernacle, which of course superseded such a 
temporary arrangement. 

II. Soon after the arrival of the Israelites in the centre of the Sinaitic mount- 
ains, Moses was directed by Jehovah to prepare a special building for his worship, 
according to a pattern shown him during his stay of forty days on the summit of the 
mount. Accordingly orders were immediately issued for contributions to this end, 
the materials were freely offered by the people, a chief artificer, " Bezaleel, the son 
of Uri, the son of Hur, of the tribe of Judah," with " Aholiab, the son of Ahisa- 
mach, of the tribe of Dan," as his assistant (Exod. xxxi, 2, 6), was selected to have 
immediate charge of the task, and after about eight months' labor, the Tabernacle, 
with all its ecpiipments, was completed and erected on the first day of the first month 
(Nisan) of the second year after the departure from Egypt (Exod. xl, 17). The 
cloudy Pillar of the divine Shekinah doubtless indicated the precise spot of its loca- 
tion by resting over the central object of the entire worship, the sacred Ark beneath 
the Mercy-seat. During the journeys and the halts in the Wilderness, as well as 
throughout the campaigns in Moab, the Tabernacle marked the head-quarters of the 
Israelitish host, and on the arrival in Canaan it accompanied Joshua in most of his 
expeditions against their enemies. In all these migrations it was taken down piece- 
meal, carried on vehicles constructed for the purpose and drawn by oxen, in charge 
of the priests assisted by the Levites, and was re-erected at every stopping-place. 
(See Plate III.) The position of the several tribes of Israelites was regulated by 
divine prescription around it, both on the march and in the encampment, the signal 



* The Heb. phrase here employed is ohel moid, lit. 
" tent of meeting," which, however, is often used 
synonymously with mishkdn ha-eduth, lit. "dwelling 
of the assembly," to designate the edifice itself. 
Strictly speaking, the terms " tent" (ohel) and "tab- 
ernacle " (mishkdn) are found to be carefully discrimi- 
nated (as we shall eventually see), denoting respect- 
ively the canvas roof and the wooden walls of the 
compound structure; never for both, except as the 



one implies the other; and absolutely never for 
each other. The expression, "tent of meeting" 
(often falsely rendered " tabernacle " in the A. V.), is 
especially appropriate from the fact that the repre- 
sentatives of the congregation of Israel were required 
to assemble for the divine commands at the " open- 
ing " (Heb. pethach, A. V. "door") of the tent; for 
there was no mishkdn or wooden part at the front of 
the building. 



10 



HISTORY OF THE TABERNACLE. 



for starting or halting being the motion or the resting of the mute guide, the Pillar 
cloudy by day and fiery by night.* In the latter part of Joshua's administration it 
was set up at Shiloh (Josh, xviii, 1), where it remained during the troubled period of 
the Judges, down to the days of Eli,f when the sacred Ark was taken out of the 
building (1 Sam. iv, 4), and never returned. It is probable that the timber of 
the wooden part of the edifice (the curtains of course having been often renewed) 
was by this time so worn and decayed (although of durable wood and thickly 
plated with gold) as to be unservicable, and Talmudic tradition speaks of its re- 
placement by a permanent stone structure, traces of which, it is thought, are still 
discoverable on the site of Shiloh (Conder, Tent-work in Palestine, i, 81). However 
that may be, there are no further distinct indications of the existence or locality of 
the original building, although evidences occur of the transfer of the worship, under 
Samuel's administration, successively to Mizpeh (1 Sam. vii, 6), and elsewhere (1 Sam. 
ix, 12 ; x, 3 ; xx, 6 ; Psa. cxxxii, 6). In David's day the show-bread was at one 
time kept at Nob (1 Sam. xxi, 1-6), which implies the existence there of at least one 
of the sacred utensils of the Tabernacle ; especially as the priests largely lived there 
(xxii, 11), and some part of their residence appears to have served, in so far at least, 
the purpose of a sanctuary (xxi, 7, 9); and even down to the close of David's reign 
the " high place that was at Gibeon " possessed some fragments of the original Tab- 
ernacle, with its altar of burnt-offering (1 Chron. xvi, 39 ; xxi, 29 ; comp. 1 Kings 
iii, 1 ; 2 Chron. i, 3-6). This is absolutely the last mention of the edifice itself. 

III. Meanwhile a rival establishment to the one last named had been set up by 
David on Mt. Zion at Jerusalem, whither he had finally transported the sacred Ark4 
and gathered around it the sacerdotal ministrations in a new sanctuary, especially con- 
structed for it, but which, as it is simply called a tent (1 Chron. xv, 1 ; xvi, 1 ; 2 Sam. 
vi, 17, A. V. " tabernacle "), would seem to have lacked the wooden walls of the 
earlier one (2 Sam. vii, 2 ; 1 Chron. xvii, 1). (See Fig. 14.) This of course was in 
turn superseded by the famous Temple not long afterwards erected by Solomon, into 
which was doubtless gathered all that remained of the original furniture of the Mo- 
saic Tabernacle (2 Chron. v, 5). The Candelabrum, however, if still extant, was 
replaced, in this edifice, by ten others, probably of a more gorgeous style (1 Kings 
vii, 49), with at least a repeating of the altar of incense and the table of show-bread 
(1 Kings vii, 48). The Laver, having probably long since been broken up, was also 



* As a slowly-burning pyre (Exod. iii, 2) shows 
white like smoke in the daylight, but red like flame 
at night. Occasionally (Exod. xiv, 20) it was dark on 
one side, and bright on the other. 

f From the narrative in 1 Sam. iii, it would seem 
that the original court was replaced or at least occu- 
pied by permanent dwellings for the ministrant 
priests (see Keil, at the place). 

\ This central object of the Jewish worship, after 
its seven months' adventures among the Philistines 
(1 Sam. vi, 1) under Eli, had been deposited at Kirjath- 



jearim (1 Sam. vii, 1), where it remained twenty years 
(ver. 2) until Samuel's establishment at Mizpeh 
(ver. 6). After its removal by David, first from 
Kirjath-jearim (where by some means it had got back 
meanwhile apparently by way of Bethlehem [comp. 
Psa. cxxxii, 6 ; 1 Sam. ix, 14] to the house of Obed- 
edom, and afterwards to Jerusalem (2 Sam. vi ; 
1 Chron. xiii — xvi), we have no record of its leaving 
the Holy City, except for a few hours on the 
breaking out of Absalom's rebellion (2 Sam. xv, 
24-29). 



FORTUNES OF THE FURNITURE. 1 1 

magnificently replaced (1 Kings vii, 23, 27). On the demolition of the Temple by 
Nebuchadnezzar's general, such pieces of the sacred furniture as had survived all 
previous changes and catastrophes probably shared the fate of the other valuables 
there, being all carried away to Babylon (Jer. lii, 18, 19), whither some articles of the 
kind had already preceded them (2 Chron. xxxvi, 7). There they remained till the 
downfall of that city (Dan. v, 2, 3), when the conqueror Cyrus delivered them to the 
Jewish "prince of the exiles" (Ezra i, 7-11), and they were among the treasures 
soon afterward permitted to be transported to Jerusalem (Ezra v, 14, 15 ; vii, 19), where 
they safely arrived under Ezra's administration (Ezra viii, 33). They seem at this time, 
however, to have consisted exclusively of the smaller but very numerous " vessels " for 
sacred uses, and no mention is made, in any of these later enumerations, of the Ark or 
the more important pieces of furniture. Evidences of a tradition appear in much later 
Hebrew literature to the effect that, on the capture of Jerusalem, or perhaps rather 
its final despoliation, the Ark was hidden away by Jeremiah, to be restored only on 
his return with the final dominion of Israel ; but this is doubtless unfounded. The 
precious palladium of the Holy City (1 Sam. iv, 3) seems to have attracted the cupid- 
ity of some one of the foreign or domestic marauders who at various times violated 
the sanctity of the shrine (2 Kings xii, 18 ; xviii, 16 ; 2 Chron. xxv, 24 ; xxviii, 24) 
down to the period of the Babylonian invasion (2 Kings xxiv, 13). There is distinct 
mention of the Table of Show-bread in the reign of Hezekiah (2 Chron. xxix, 18), 
and in that of Josiah allusion is perhaps made to the autograph copy of the Law 
originally deposited in the Ark (2 Chron. xxxiv, 15), but after this date all direct 
traces of any of the sacred apparatus constructed in the Desert vanish from history.* 



*The few extra-Biblical notices of the furniture of 
the Herodian Temple, some pieces of which may- 
have been the same as those of the Taber- 



nacle, will be considered in treating of their original 
construction. (See Chap, iv.) 



CHAPTER IV. 



STRUCTURE OF THE TABERNACLE. 



In this, the main portion of the present volume, our aim will be to explain as 
succinctly as possible the various parts of the sacred edifice and their adaptation to 
each other, chiefly from the Scripture record, accompanied by suitable diagrams, 
without entering into any unnecessary controversy of the opinions of others who 
differ from us as to the proper mode of reconstruction. Our chief purpose through- 
out is not simply to justify our own delineation, but rather to aid the reader in his 
conception and apprehension of it. If it shall then appear consistent, it will be its 
own best vindication. 

The sacred narrative begins with a prescription of the central object of sanctity, 
the Ark, and proceeds outward to the less holy precincts ; but, as ours is a Ascription, 
we pursue the reverse order, in accordance with modern methods. The inspired 
writer develops his subject from an interior point of view, but common mortals can 
only look upon it from without. 

I. The Court was a space inclosed around the Tabernacle itself in the midst of 
each camping-ground, for the exclusive use of the priests and Levites in their sacred 
ministrations, and was always so arranged as to face the East. The first encampment 
on which it was laid out was of course immediately in front or north of Mt. Sinai (as 
in Plate II), where the fine plain of Er-Rahah stretches on an average a mile and a 
half wide and about three miles long — besides its continuation, through side-valleys, 
to the very foot of the majestic hills on all sides towering about 3,000 feet sheer 
above it. The central peak, directly opposite, is now called Has Sufsafeh ( Willow 
Top, from a small tree of that kind in a cleft of its summit), and is doubtless the 
very spot — plainly visible in the clear atmosphere to the whole camp at its base — 
where the Law was delivered amid flashes of lightning; while the rear peak — 
somewhat higher, but hidden at this point of view by its forward fellow — is still des- 
ignated as Jebel Musa {Moses's Mount), being no doubt that on which the Hebrew 
lawgiver held his prolonged interview with Jehovah. 

1. This outer (and only) court of the Tabernacle was 100 cubits long and 50 wide 
(Exod. xxvii, 9, 12, 18), or, reduced to English measure,* an oblong of about 172 
by 86 feet, (See Plate I.) 



* We may here state, once for all, that our estimate 
of the length of the Hebrew cubit, in this treatise, 
is the same as that finally adopted by the late cele- 
brated Egyptologist, Sir John Gardner Wilkinson, 
namely, 20.625 inches or 1.719 feet (Ancient Egypt- 
ians, Harper's ed. ii, 258). This substantially agrees 



with the following ancient specimens of the cubit 
still extant, which the author has personally exam- 
ined and measured. 
Nilometer at Elephantine (average). ..20.627 inches. 

Copper Rule in Turin Museum 20.469 " 

Wooden Rule in Turin Museum 20.563 " 

Stone Rule in Turin Museum 20.623 " 



PILLARS OF THE COURT. 



13 



The area was inclosed by a curtain or hanging, of corresponding length, sus- 
pended upon pillars 5 cubits high (Exod. xxvii, 18). These fence-posts, as we would 
call them, were doubtless of acacia (" shitthn," sing. " shittah "), like the other wooden 
portions of the edifice, and probably round, as their type in nature (a tree), and 
economy of weight for a given degree of strength, seem to require. "We may safely 
estimate their diameter at one fourth of a cubit, or about 5 inches. Like the other 
columns of the building, they appear to have been of the same size from top to bot- 
tom. Their foot was held in place by a socket or plate* of copper (A. V. incorrectly 
" brass," for zinc, which is used in that alloy, was unknown to the ancients), f evi- 



The Turin copper cubit-rule has evidently shrunk 
in cooling from the mould in which it was cast. The 
wooden one may have worn away somewhat. The 
stone one is rather irregular at the edges of the ends. 
The cubits marked on the stairway at Elephantine 
differ considerably from each other. Other cubit- 
rules exist varying, according to published measure- 
ments, from 20.47 to 20.65 inches. An approximation 
to the exact standard is all that can now be determined. 

The above cubit-rules at Turin, together with oth- 
ers preserved in the various museums of Europe and 
elsewhere, have been carefully delineated and ana- 
lyzed by R. Lepsius (Die olt-agyptisdhe Elle und ihre 
Einihtilung, Berlin, 1865, 4to), who estimates the an- 
cient Egyptian full cubit, from these specimens and 
a comparison of the dimensions of the Pyramids (pre- 
sumed to be in even cubits, as given by ancient wri- 
ters, and proportional, both outside and in), as equiv- 
alent to 1 foot and 8§ inches English (p. 5), or very 
slightly in excess of the conclusion adopted by us. 
(The paper, however, on which they are printed has 
shrunk in drying from the lithographic press, so that 
they are f of an inch shorter than the actual length. 
This is confirmed by the fact that he computes the 
entire cubit, on the same plan, at 525 millimetres, 
i. e. 20.67 inches.) That the Hebrew cubit was the 
same, can hardly be questioned. The Egyptian cubit- 
rule was divided into 28 equal digits (finger-breadths), 
the first 15 of which were graduated into fractional 
parts (from the half to the sixteenth respectively). 
Four digits made a palm (hand-breadth, exclusive of 
the thumb); three palms made a small span, or three 
and a half a large span, four palms a foot, five palms 
an elbow (from the wrist), six palms a short (or, " mod- 
erate," i. e. medium-sized person's) cubit (including the 
length of the palm only), and seven palms the full (or 
" royal," i. e. full-sized man's) cubit, from the tip of the 
middle finger to the elbow, i. e. the entire lower 
arm. Thus each of the parts, as well as the whole, 
was determined by a natural type (Rev. xxi, 17). 
These subdivisions were regular!}' numbered from 



right to left, and most of the surfaces were embel- 
lished with emblematical and mythological hiero- 
glyphics. The favorite shape was that of a flat rule 
with one edge beveled, the digit marks being incised 
on most or all of the faces, and the fractions on the thin 
edge. None are jointed, for folding. The distinction last 
noted, namely, between the scant and the normal 
cubit, seems to explain the remark in Ezek. xliii, 1 3, 
" The cubit is a cubit and an hand-breadth," i. e. the 
full cubit, and not the short one, is intended (so in 
Ezek. xl, 5). 

*The Heb. word (ver. 10-18) is eden, "a base," 
used also of the similar underpinning (as we shall 
see) of the Tabernacle walls, and elsewhere only of 
the foundation of the earth (Job xxxviii, 6), or the 
pedestal of a statue (Cant, v, 15). The weight of the 
superstructure, or a slight excavation, would settle 
these somewhat into the ground, and thus prevent 
the foot of the entire structure from sliding. The 
old-fashioned idea (apparently corrected under the 
rendering " socket "), that they were hollow pointed 
receptacles, is an utterly impracticable one : for such 
could not have been driven accurately (to fit the ten- 
ons) in the hard gravelly and stony soil of the Des- 
ert, and they would soon have been battered to 
pieces ; nor would they have been of any use, since 
the tenons themselves might as well have been 
pointed, and driven in at once. 

■(• The monuments show that the ancient Egyptians 
were familiar with the processes of metallurgy, and 
the mines of Surabet el-Khadim, in the desert of Sinai, 
are known, from old papyri, as well as the debris and 
inscriptions in the vicinity, to have been worked by 
them from a very early period. It is probably to 
these operations that the book of Job (chap, xxviii) 
refers, a work which Moses himself, who doubtless 
often witnessed the miners during his exile in Mid- 
ian, is believed to have edited. The copper was 
smelted, no doubt on the spot, from the malachite 
there obtained. There would, therefore, be no diffi- 
culty in the Israelites effecting these castings at Sinai. 



STRUCTURE OF THE TABERNACLE. 



dently laid, flat upon the ground, doubtless with a mortice or hole (probably square, 
in order to prevent the pillar from revolving) in the centre, to receive a correspond- 
ing (copper) tenon in the end of the pillar. They were stayed upright by cords 
(Exod. xxxv, 18) fastened to pins (xxvii, 19) * of copper driven into the ground, 
which would be necessary both on the inside and on the outside ; while the curtains 
with their attachments (especially the rods presently to be considered) would keep the 
tops at a proper distance apart, and the corners would brace the whole line. There 
were 60 of these pillars in all, namely, 20 on each side, and 10 on each end, with an 
equal number of sockets (ver. 10-12). This allows exactly 5 cubits' space between 
the pillars (from centre to centre), the corner-pillars of course being counted only 
once (and set half their thickness nearer the adjoining ones), whether in the side or 
the end.f Accordingly the eastern or front end is said to have 4 such spaces in 

* The Heb. word is yether, everywhere used of a 
tent-pin. It was probably round and pointed, with 



a head or notch to keep the cord from slipping 
off. 

f This disposition of the pillars, which is the mod- 
ern workmanlike method in dealing with fence-posts, 
harmonizes the numbers and dimensions of the sacred 
narrative, and meets all the proprieties in the case. 
The question raised as to the mode of reckoning is 
a mere dispute about words, which has led some to 
make more and some less than 60 posts, and many to 
assign fractional and even different spaces between 
them. The exact truth is that the corner posts be- 
long one half to the side and one half to the end (and 
so of the door- way posts and their wings), so that the 
language of the sacred writer is strictly correct. In 
counting the pillars of the respective sides of the 
rectangle and those of the door-way, both extremes 
are neither included nor both excluded, but (as every 
one's experience must have taught him to do in such 
cases) one is included and the other excluded. A 
careful inspection of botli accounts (Exod. xxvii, 9- 
16; xxxviii, 9-19) shows that the number of the 
pillars is never predicated of the sides of the court, 
but always either of the court itself or (usually) of 
the hangings ; and so likewise not of the opening of 
the door-way, but of its screen. This justifies the 
phraseology, inasmuch as the curtains, being contin- 
uous, would count (so to speak) the spaces rather 
than the pillars which they represented. Or perhaps 
we may more clearly apprehend the reason of this 
mod'! of reckoning, if we bear in mind that it was 
prescriptive and constructive, and not as erected; 
the materials being indicated — so many pillars pre- 
pared for such a length of curtain, care being taken 
not to duplicate or omit anything. The execution of 
the directions was left to the common-sense of the 
workmen, and the interpreter has need to exercise 



his own in the exposition. We will find a similar 
enumeration employed, for the sake of uniformity, in 
the loops attached to the exterior curtains of the 
building; and Matt, i, 17, may be cited as an anal- 
ogous case. 

That the above interval is the true one is rendered 
certain by the length of the door-way curtain, 20 cubits 
for 4 pillars (xxvii, 16; xxxviii, 18, 19), as well as by 
that of each of the -side-curtains, 15 cubits for 3 pillars 
(xxvii, 13, 14; xxxviii, 14. 15), thus making up the 
entire end of 50 cubits for 10 pillars (xxvii, 12, 13; 
xxxviii, 12, 13). The corner pillars of the door-way 
are not cou nted frffijce, although both the colored and 



the plain curtains hung on them ; but, precisely as in 
the case of the corner pillars of the court, where the 
two sections of curtains meet, they are accurately at- 
tributed one half to either side of the dividing line in 
their middle. This is the only way in which the door- 
way can be brought in the centre of the front, as it 
evidently was meant to be. There were clearly 10 
spaces of 5 cubits each, from the centres of the pillars 
severally. Any other distribution is complicated and 
unnatural. In fact, aside from the question of the 
regularity of spacing, the on\y consistent and uniform 
method of counting the pillars possible is to include in 
each enumeration one of the means, but not the other ; 
for if both be included, there will really be but 98 
around the whole court, since two of the corners must 
be counted twice; or, if both extremes be excluded, 
there will be 104 in all, since the four corners must be 
left out altogether ; similarly on the froDt, if both 
extremes be included on the entire line, as well as at 
the entrance, there will be but 8 in all ; or if both be 
excluded there will be 12. Paine arbitrarily assumes 
that both extremes are to be included in the sides of 
the court, but excluded from the ends; yet he is 
compelled to include one extreme only in the side- 
curtains of the front end. 



PILLARS OF THE COURT. 



the middle for a door- way (20 cubits wide), and 3 spaces or 15 cubits on either side of 
these (ver. 14-16). From the parallel passage (Exod. xxxviii, 17, 19) we learn that 
all the pillars were capped with silver, probably a curved plate to protect the top. 
Two other parts or appendages to these pillars are mentioned, namely, " hooks " and 
"fillets," both of silver (ver. 10, 12, 17). The former of these* obviously were to 
serve the purpose of holding up the other parts of the screen, and the latter \ can 
only be a rod, not designed to sustain the curtain by means of loops or rings in its 
top edge, no such contrivances being anywhere mentioned in the text (as they inva- 
riably are whenever used) ; but intended to keep the tops of the posts at a proper dis- 
tance apart, being hung upon the hooks, apparently by means of eyes at each end 
(these last implied in the statement of their corresponding hooks, just as mortices in 
the sockets are taken for granted to fit the tenons of the posts and planks). The 
hooks were set one each in the middle of the round face of the pillar a little below 
the cap, and probably another near the bottom. The stay-ropes on either side might 
readily be fastened around the top of each pillar by a hitching-noose in the middle, 
which the hooks would keep from slipping down. 

The curtains thus hung upon the pillars were sheets of " fine twined linen," % 



* Heb. vav, the name of the sixth letter of the al- 
phabet, formed thus, ), which indicates the shape of 
the hook or peg, being driven horizontally into the 
pillar. It was probably made of wire, or at all events 
round. Paine (for a reason apparent below) figures 
the antique style of the letter (adopting this form, V), 
but this will make little difference, for in old inscrip- 
tions it appears ■ in forms not essentially different 
from the above printed shape (for example on the 
Moabitic stone quite as often thus, W, and in the very 
earliest specimen hitherto discovered, namely the 
Siloam inscription, exclusively thus \, which is sub- 
stantially the same as on old coins, thus\ ). 

•(•Heb. chashuk, something "fastened," i. e., a pole; 
used only of this object, and a word of similar form 
chislishuk, of the spoke (A. V. "felloe") of a wheel 
(1 Kings vii, 33). As the rods of the Tabernacle 
door-way were overlaid with gold (Exod. xxxvi, 38), 
and were consequently not solid metal, but only a 
wooden pole incased (like the bars of the planks to 
be presently considered), these silver rods were prob- 
ably constructed in a similar manner; and the eyes 
at their extremities for the hooks must have been 
driven into their ends. Paine inserts the hooks up- 
right in the tops of the pillars, and hangs the curtains 
upon the rods; but this arrangement, b} r drawing 
the curtains partly around the pillars, shortens them 
and prevents their hanging smooth. We shall also 
see that it will not apply to the description given of 
the inmost screen, called "the vail" by way of 
eminence. The etymology of the words is no objec- 



tion to placing the hooks horizontally, any more 
than the knobs. 




Fig. 2.— Pillar, with Eods and Hooks. 

J Heb. shesh moshzdr, lit. "white twisted" cloth, 
i. e., bleached material of two-stranded thread, doubt- 
less of flax. Shesh seems to denote any very white 
substance, and is applied even to marble (Esth. i, 6 ; 
Cant, v, 15). The proper word for linen is bad, 
which as distinguished from shesh would be the un- 
bleached stuff of its natural color. The fineness of 
the thread is not involved in either term. 



16 



STRUCTURE OF THE TABERNACLE. 



of unusual body and brilliancy (i. e. duck), probably sewed endwise together so as to 
form a continuous screen from the door-way all around the corners to the door-way 
again. This would most conveniently be hung on the outside of the pillars, and being 
5 cubits wide (Exod. xxxviii, 18),* it would clear the ground, if stretched smooth by 
eyelets in the upper and lower edges for the hooks. The door-way curtain, 20 cubits 
long, in the middle of the eastern end, however, was a different kind of stuff, " blue, 
and purple, and scarlet, and fine twined linen, wrought with needlework " (ver. 16), i. e., 
as we were the first to interpret it, the warp (or lengthwise threads) of bleached linen 
cord, and the woof (or filling) of alternate bars (running as upright stripes) of wool 
dyed blue-purple (violet),f red-purple (Tyrian)4 and crimson (cochineal),§ with hand- 
embroidery superimposed.| From their mode of attachment it is clear that none of 
these curtains (not even that of the door-way, which is explicitly stated to have been 



*From this passage it appears that all the curtains 
around the court were of the same height. The sin- 
gular expression there used, " The height in the 
breadth," means that the height was occasioned by 
the width of the cloth, which ran horizontally. 

In the arrangement which we have adopted, all the 
rods (or rails we might call them) for this fence are 
of the same length, inasmuch as they are carried 
entirely across the corner-posts, and these latter are 
set wholly within the line. It is only necessary to 
have the single hook in these posts (at the extreme 
angle of course) not driven in so far into the post, 
i. e., projecting farther from its face. 

f Heb tekeleth, the helix ianthina, a very thin, flat 
and coiled, round shell, found on the Mediterranean, 
the envelope of a colorless, jelly-like animal, which 
when crushed or punctured emits a beautiful violet 
liquid. 

\ Heb. argaman, the murex brandaris, a large spiral 
shell, found in the Mediterranean, a particular part 
of the animal inhabiting which contains a creamy 
fluid, that turns a brilliant purple after exposure to 
the air. 

§ Heb. shani, often with the addition of tolaath, a 
worm or grub ; the coccus ilicis, a parasite on the Tyr- 
ian oak, the wingless female of which furnishes the 
kermes of commerce, and yields a rich red color, very 
closely resembling that of the coccus cacti or true 
cochineal (which came from Mexico), being somewhat 
less brilliant but more permanent. 

|| It should be noticed thf*t in neither case is the 
substance, of which these two parts of the fabric 
was composed, explicitly mentioned. (Compare the 
enumeration of the same materials first in chap. 
xxv, 4.) That it was first woven in a loom, and af- 
terwards worked with a needle, is obvious. Besides 
this the different colors only are named. The 
'• bleached" was the basis, that is, the warp, as being 



the stronger, and for this purpose " double-twisted." 
That it was linen is to be inferred from the fact that 
it was bleached. On the other hand wool only will 
take rich colors well, especially animal dyes (the two 
purples are from shell-fish, and the bright-red from 
an insect). The cross bands of these three shades of 
red (as we may style them) would be softened by the 
admixture of the white foundation. On these the 
embroidering was performed, as the contrast would 
thus be very effective. The color of the embroidery 
would, we presume, be yellow, of silk thread, we 
suppose (as gold is not mentioned here), apparently 
on the " right " or outer side only. The figures do 
not seem to have been cherubim, as these are men- 
tioned in connection with the inner tapestry only, 
where they would be more appropriate. We are for- 
bidden by the second commandment (although not 
yet promulgated) to think of any actual object, 
and must therefore conjecture that the needlework 
consisted of purely fancy patterns, such as abound 
in Oriental tapestries, ceilings and rugs — perhaps 
what is known as " mosaic." The order of the col- 
ors, as systematically named, leads us to conceive that 
the violet stripe was first, the purple in the middle and 
the crimson last, the white underneath and the yellow 
over the whole. The three primary colors (blue, red 
and yellow) are thus represented, but not in their 
prismatic order. The symbolism is of a less scientific 
nature, as we shall eventually see. The rain-bow has 
its own symbolism (Gen. ix, 12-16), but it is entirely 
cosmical. Josephus suggests {Antiquities, III, vii, 2) 
that the linen was the warp, but he says nothing about 
the woof, nor the order of the colors; he seems to 
have thought these were only used for the embroid- 
ery: "It [the high-priest's robe] is embroidered with 
flowers of scarlet, and purple, and blue [reversing the 
colors], and fine-twined linen ; but the warp was 
nothing but fine linen " (Winston's translation). 



ALTAR OF BURNT-OFFERING. 



17 



a single piece) were intended to be parted or to slide for admission ; entrance could 
therefore only be effected by lifting them at the bottom and passing under them (as 
they were 5 cubits, or more than 8£ feet, high), and this moreover was not possible 
with any degree of facility (on account of the tightness of the long lines) except at 
the door-way, where the break in the continuity of the curtain and its comparative 
shortness allowed it to be easily raised, especially at the (lower) corners. 

2. Within this limited but sufficiently capacious area, besides the principal object, 
the Tabernacle itself, there were only two others normally belonging to it, namely, 
the " Brazen Altar," and the Laver. 

(1.) The former of these, often styled the Great Altar (in later literature), or 
more appropriately the Altar of Burnt-offering, to distinguish it from the smaller 
Altar of Incense, was made strong and light for convenient transportation, thus 




Fig. 3.— Altar of Burnt-offering, with the Grate drawn out. 

superseding all former structures of the kind, but not exclusive of still larger 
earthen or stone altars, as in subsequent times (Exod. xx, 24, 25). The one under 
consideration was a hollow box* of acacia (shittim wood), 5 cubits square, and 
3 cubits high (Exod. xxvii, 1, 8), cased all over its surface with sheets of cop- 
per (ver. 2). It had a " horn " (i. e. an upright, tapering projection) at each cor- 
ner, apparently formed by a triangular extension of the sides at their junction 
(ver. 2). This was an ornamental and significant, rather than a strictly needful 
appendage. An essential addition was the grate, f consisting of a copper net-work, J 
movable by a copper ring in each corner (ver. 4), and placed below the top of the 



* " Hollow with boards " (xxvii, 8 ; xxxviii, 1), Heb. 
nebub luchoth (lit. "a hollow [bored through, like a 
tubular column, Jer. lii, 21] of slabs [a different 
word from that used for the planks of the Tabernacle 
walls])." Their thickness was no doubt some defi- 
nite proportion of a cubit, as we shall find all the 
dimensions about the structure to be (since, as Paine 
justly remarks, " A carpenter always works by his 



rule-measure ") : in this case probably, one-eighth, ot 
about 2£ inches — not too great for so large a box, 
and one exposed to much hard service. 

f Heb. mikbar, lit. "plaiting," used only of this 
contrivance ; but a kindred term, makber, is once ap- 
plied to a coarse cloth (2 Kings viii, 15). 

$ Heb. resheth, a term constantly applied to a net 
for catching animals. 



18 



STRUCTURE OF THE TABERNACLE. 



altar, half-way down the inside (ver. 5). It thus appears that there was no cover to 
the altar at all, and probably no bottom, but only the grating, evidently for the fire, 
across it at the middle ; and this latter was supported by sliding through slits in the 
opposite sides of the altar, the rings projecting outside.* Through these rings were 
passed the copper-cased side-poles used for carrying the whole on the march like a. 
hand-barrow (ver. 6, 7 ; comp. xxxviii, 5-7), while the grate was held fast by the 
rings and staves. The entire surface of the altar was therefore sheeted with copper 
inside and out, including the horns, so that the heat could not affect it ; and the 
priests standing about it could conveniently manage the sacrificial fire, sliding the 
grate far enough out to take up the ashes that fell through it. The flame would be 
concentrated by being confined within the upper part of the altar-box, and sufficient 
air to keep up a draught would enter by the crevices around the grate, especially 
those left to allow the rings to pass through, or additional holes might be made for 
that purpose, if found to be necessary, f There was no occasion for steps or an in- 
clined plane to reach it.J (See Plate V, A.) 

The utensils named (ver. 3) in connection with the Altar, all of copper, are 
"pans to receive [i. e. remove] the [greasy] ashes of the sacrifices,"§ shovels (for tak- 
ing them up), basins (for holding the blood of victims, with which the horns of the 
altar were smeared), flesh-hooks (for handling the roasting sacrifices, and managing 
the fire), and fire-pans (for carrying coals for incense or other purposes).! 

The Great Altar probably stood in the centre of the open space of the court, 



* This is the arrangement of Paine in the last edi- 
tion of his work, and entirely obviates the serious 
objections against all previous interpretations and 
conjectures. The Heb. word rendered " compass" is 
karkob, an obscure one, used only of this particular 
object, and designates the upper margin of the altar 
(which, as we shall see, was entirely different from 
that of the Altar of Incense). The word rendered 
"midst" is lit. Tinlf, as often elsewhere. Since the 
rings were cast (like those of all the other pieces that 
were similarl} 7 furnished — for this is expressly stated 
of all except the Incense-altar [and the wall-planks], 
and " made " is there equivalent to " cast," as appears 
from a comparison in the other cases) and therefore 
solid, they must have been attached to the grate 
(which was likewise cast) by means of staples upon 
its face (as the Heb. invariably has it, in this as well 
as all the other cases). 

\ As the altar stood in the open court, and the 
fuel was above the centre of the broad fire-box, an 
ample supply of air would come in over the sides for 
ordinary purposes of combustion ; and for the greater 
part of the day, and during the whole night, the fire 
was to be merely kept smoldering alive. On extraor- 
dinary occasions, the current would naturally be in- 
creased by excavating openings under the sides, arid 



these could conveniently be closed by a stone at. 
pleasure. A mound of earth might be raised on 
either side for ascending to the top whenever nec- 
essary. 

% This altar was doubtless set directly upon the 
ground, and so might not inappropriately be called 
"an altar of earth" (Bxod. xx, 24). The gold-plated 
pieces of furniture indoor were probably (as Paine 
suggests) placed upon fur rugs spread upon the 
ground. These skins were no doubt the same, or- 
at least of the same character, as those that (as we 
shall eventually see) were used to cover up the sacred 
furniture on the march. 

§Heb. dashshen, a special word for these fatty 
ashes. 

H From the fact (Num. xvi, 38, 39) that similar ves- 
sels to these last (Heb. machloth, receptacles for fire, 
A. V. " censers ") on one occasion (apparently not 
very long after the removal from Sinai) were readily 
used as additional plates for the Altar of Burnt-offer- 
ing (probably on the edges of the fire-pot, where the 
wear would soonest tell), it would seem that these 
were simply square copper sheets folded at the cor- 
ners (in gores like modern sheet-iron pans), and fur- 
nished with a plain hnndle (doubtless of the same, 
merely riveted on). , 



THE LAYER. 



about half-way between the entrance and the Tabernacle itself,* (where it would 
be convenient of access to all worshippers, and leave room enough for the sacrifices). 
Upon it was maintained a perpetual lire of selected wood, except of course while on 
the march. f 

(2.) Midway of this latter interval (Exod. xxx, 18), still in the medial line, stood the 
other conspicuous piece of apparatus for the service, namely, the Laver, which would 
there be immediately at hand for the priests to bathe X before entering the Sanctuary, 
or approaching the Altar (ver. 19-21). It consisted of two parts, the Laver proper, § 
and its Foot || or pedestal. Neither the form nor the size is given.!" Both parts were 
obviously round, as the vessel was in fact merely a bowl with a base connected by a 
tapering neck, like a flat goblet. That it was shallow, and raised but little from the 
ground, may be inferred from its use, which was to wash the feet as well as the 
hands ; and that it was comparatively small may be inferred from the fact that it was 
not intended for washing the entire person (ver. 19, 21). It was probably about two 
cubits in diameter, and one and a half cubits high. Like all the utensils of the court, 
it was of copper, but in this case apparently somewhat alloyed ; for it was a casting 
made of the metallic mirrors contributed by the female members of the congregation 
( txxviii, 8), such as the Egyptian ladies are known to have used.** (See Plate V, D.) 

II. The Sanctuary or sacred fabric itself was situated at the front edge of the 



*Exod. xl, 29 is not determinative of the exact 
spot. 

fTlie Arabs who conduct travellers through the 
Desert of Sinai always keep up a fire during the 
night with the drift-wood or brush which the winter 
rains bring down from the sides of the mountains. 
This is partly for company and partly for a sense of 
protection against surprise. The monkish local 
guides who escort tourists over the summit of 
Sinai are in the habit of touching a match to any 
dry shrub that they meet on the way ; which seems 
a sort of reminiscence of the burning bramble that 
Moses saw. But the wild-sage bushes, with which 
the plain and hill-sides are dotted, are unmolested, 
although they stand quite dry, but still perfectly re- 
taining their green color to the middle of March. 

$Heb. rachats, used of laving either the whole 
body, or any part. 

§ Heb. kiyor, a cooking dish, used generally of a 
pot, basin or pan. 

I Heb. ken, lit. a "stand" or support, evidently an 
expansion of the shaft, probably with a turned-up 
rim so as to catch the drip frqpi a faucet in the upper 
reservoir ; for Orientals wash the hands by pouring 
water upon them from a ewer, and not by plunging 
them into a basin, which would defile the whole. 

T[ Something, however, may be deduced from the 
etymology of the Heb. term, and its use in other pas- 
sages. It is derived from a root that seems prima- 



rily to mean excavation by hammering, and this would 
naturally yield a semi-globular hollow, which form is 
confirmed by the convenience for a lavatory, like a 
wash bowl or basin, and by the similar shape of the 
molten sea and the smaller lavers, which took its 
place in the Temple (1 Kings vii. 30. 38, 40. 43 ; 
2 Kings xvi, 17; 2 Chron. iv, 6, 14). and which are 
denoted by the same word. It is elsewhere applied 
to a chafing-dish for live coals (Zeeh. xii. 6), and to a 
platform or rostrum (2 Chron. vi, 13), which, although 
probably covered (as the other utensils seem not to 
have been), doubtless had the same urn-like form, and 
could not have been high, since no steps are spoken of 
in connection with it, In 1 Sam. ii, 14, it is named first 
of four kinds of receptacles for boiling flesh, which 
seem to be enumerated in the order of their size, but 
could not have differed very much in their shape; 
namely, kiyor (prob. a caldron, A. V. "pnn" here), 
dud (a large pot [lit. boiler\, Job. xli, 20 : Psa. lxxxi, 6 ; 
"kettle," here, "caldron," 2 Chron. xxxv, 13; also a 
"basket," 2 Kings x, 7 ; Jer. xxiv, 2), kallachath (from a 
word that seems to indicate pouring; a kettle. A. V. 
"caldron," here and in Mie. iii, 3). and parur (from 
a root significant of hollowing by fracture, a deep pan, 
as rendered in Num. xi, 8; "pot" Lere and in 
Judg. vi., 19). 

** Wilkinson {Ancient Egyptians, ii, 345-7). These 
specula were of various metals, usually mixed, but 
not always nor properly bronze. 



20 STRUCTURE OF THE TABERNACLE. 

rear half of the entire inclosure, probably leaving equal spaces on either side and 
behind between its walls and those of the Court. It consisted of two portions, called 
respectively the Holy and the Most Holy places, the former occupying the forward 
room, and the latter one half the size in depth behind it (as will eventually appear). 




4.— Wooden Walls of the Tabernacle. 



WOODEN WALLS. 21 

As both these were of the same width and general construction, we may most con- 
veniently consider them together in point of architecture, and afterwards discuss their 
special features separately. (See Plate IV.) 

1. The walls (which distinctively composed the mishlcdn or " Tabernacle") were 
of a character, like all other parts of the edifice (if so we may term this migratory 
temple), to be easily taken down and re-erected whenever the divine signal should be 
given to that effect. (See Fig. 4.) 

(1.) They essentially consisted of planks or " boards " * of the acacia or shittim 
wood"f before mentioned, each 10 cubits long, and 1^ cubits broad (xxvi, 16). 
Their entire surface was plated with sheets of gold. Twenty of these formed each 
side-wall (vers. 18, 20), held in a perpendicular position (ver. 15) by means to be 
described presently, each plank having two tenons \ in the foot to attach it securely 
to the ground as in a sill. The rear planks were 8 in all (ver. 25), of which 6 
were like the foregoing (ver. 22), and 2 of peculiar construction for the corners (ver. 
23). To form each of these last, a plank exactly similar to all the rest was divided 



* Heb. sing, keresh, as being hewn out ; used only 
of these planks and of the deck of a vessel ("benches," 
Bzek. xxvii, 6). They were in fact almost logs, like 
floor-timbers. The " boards " of xxvii, 8 are a differ- 
ent word in the original, being that usually rendered 
" table," when this means merely a plate or slab. 



but in the cognate languages is applied to the rounds 
of a ladder, and seems to mean regularly occurring, 
i. e., at equal intervals (for tliis is the most essential 
feature of ladder rounds); and thus we have arranged 
them, except those of the corner-plank, which are like- 
wise two, but necessarily in a somewhat different 



HBBHBSHRraHHHBHRra 

Fig. 5. — Comparison of the Tenons and Mortices of the Wall-planks -with the Rounds of a Ladder. 



\ The (Arabic) seyal, common in the Sinai tic desert, 
a thorny tree of moderate size, with firm and durable 
wood, closely resembling our yellow locust. The 
bark is smooth, and that of the limbs yellow, like 
the ailanthus. (See Fig. 39.) 

X Heb. sing, yad, a "hand," as often elsewhere ren- 
dered. The analogy of the other curtain posts leads 
us to conclude that they were of solid metal (therefore 
small) like that of the sockets, i. e. in the present case 
silver. These tenons are said to be "set in order," 
Heb. meshullab, a word that occurs nowhere else in 
Heb. (except in shalab, a "ledge," 1 Kings vii. 28, 29), 



position. In the parallel passage (xxxvi, 22) it Is ren- 
dered "equally distant," and this is confirmed by a coin- 
cidence which can hardly be accidental. If these tenons 
(and the corresponding mortices) were equi-distant, 
they would be f of a cubit apart (from centre to 
centre) or about 15£ inches, which actually is the 
most convenient and customary space between the 
rounds of a ladder. This correspondence to the natural 
type is illustrated by the annexed diagram. (See 
Fig. 5.) The tenons were probably square, so as to 
keep the sockets from revolving out of line, and of 
silver, so as to match the sockets. 



STRUCTURE OF THE TABERNACLE. 



throughout its length into two parts, one of them two-thirds of a cubit wide, and the 
other the remaining five-sixths of a cubit wide ; these parts were then joined together 

at right angles by the edges, so as to 
form a "corner-board," externally | 
of a cubit on each side (one way that 
width already, the other | plus \, be- 
cause including the thickness of the 
associate plank), and internally f of a 
cubit each way (one side being that 
width of itself, and the other -| minus 
I, as excluding the thickness of the 
attached plank).* These corner- 
planks, being applied flush to the 
other rear-planks, but extending 
around the corner over the rear edge 
and part of the breadth of the last 
side-plank, completely fulfill the con- 
ditions of the case, and yield a satis- 
factory solution of several otherwise 
inexplicable problems, (a.) The thick- 
ness of the planks themselves is 
proved (by the above calculation) to 
have been -i of a cubit, which agrees 




-Comer-plank of 

a. Separate. 



(N. W. angle.) 



with the statement (apparently from 
tradition or conjecture) of Josephus 
(" four finger-breadths," Antiq. Ill, vi, 3). (b.) The requisite (interior) dimensions 
of the two apartments (Holy and Most Holy places) are secured. The proportional 
decimal character of all the measurements in the Court and its structures, and 
especially of the Sanctuary itself, and indeed the correspondence with these portions 
in the subsequent Temple (which were doubles of them, 1 Kings vi, 2), point clearly 
to the conclusion that the width of the building (inside) was one-third its length ; so 
that the Most Holyjplace was exactly square, and the Holy place just twice as long 
as it was broad. The six full planks of the rear of the Holy of Holies (6 X 1£ = 9), 
added to that part of the split plank at each corner not taken up in covering the edge 
of the last side-plank (2 x [| — i = i] == 1), make exactly the 10 cubits called for.f 



* This joining of the corner-planks is suggested by 
Keil and adopted by Brown, but is yet of little avail 
with them, in consequence of the excessive thickness 
nssigned by them to the planks themselves, although 
the latter writer makes the corner lap over the side. 
So near have some plans come to the correct solution 
of this part of the problem, without effectually ac- 
complishing it at last. 

f It is noteworthy that the dimensions of the Tab- 



ernacle itself aro nowhere explicitly given, but are 
left to be inferred from a combination of the details ; 
because, as we opine, there would be uncertainty as 
to whether the internal or the external size were 
meant. Accordingly measurements are definitely 
given with regard to the Court, the Ark. the Table, 
and the two Altars because there could be no doubt 
on this point concerning them. This shows the 
minute carefulness of the sacred description. 



CORNER PLANKS. 



23 



Moreover, in this way the corner-joint is neatly closed, which would other- 
wise show on the side, instead of the end of the rectangle, as usual with joiners ; 
and the whole angle would also be greatly strengthened as well as ornamented 
by the overlapping on the longer side, (c.) This clears up the obscure phrase- 
ology employed (ver. 24) concerning these corner-planks, "And they shall be 
coupled together beneath [lit. And they shall become twinned from as to down- 
ward], and they shall be coupled together above the head of it unto one ring [lit. 
and together they shall become whole upon its (the compound plank's) head 
toward the one (or first) ring] ; " which plainly means that the two half-planks were 
„ to be jointed together from bottom to top, and were likewise 

fastened by the same endmost ring (namely, that of the rear 
side-plank). By inspecting the annexed diagram (Fig. 6), it will 
be seen how exactly true this last peculiarity was ; for the first 
bar-ring of the side-planks at the corner must have passed 
entirely through the overlap of the rear plank, and the ring 
(when the bar was passed through it) would hold the corner 
firmly together. This was a very important fact (especially at 
the top) in a structure destitute of a frame-work.* 

(2.) In order to receive the tenons in the ends of the planks, 
sockets of solid silver were laid upon the ground (corresponding 
to those of copper for the Court), two for each plank (xxvi, 19). 
As each socket weighed one talent (xxxviii, 27), Paine has 
ingeniously calculated their size as being half a cubit square, and 
of a cubit thick.f Presuming that the mortice-holes (probably -^ cubit, or about 



Fig. 1. — Socket of the 
Tabernacle. 

a. Top. b. Edge. 



* In the adjustment which we have adopted it will 
be seen that the planks are held together laterally 
(so as not to be parted by the strain of the end stays) 
by the roof-canvas, whicli is buttoned down close on 
the knobs all around the three sides (and across the 
front likewise) ; but at the rear corners (which are 
held together by this arrangement of the corner- 
planks) this security is unnecessary, and therefore 
(on account of the slit or notch in the selvedge at 
that point, as we shall eventually see) it is there dis- 
pensed with. 

f We arrive at the same result by a different calcu- 
lation. Each socket, if solid, would contain ^ of a 
cubic cubit (|X^X £), or 365.6 cubic inches (V T X 
[20.625 = 20|] 3 ). But from this must be deducted 
the mortice ( [^ X T V X|]X [20f] 3 ), or 5.6 cubic 
inches, leaving exactly 360 cubic inches of silver for 
the socket. Now, as a cubic inch of silver weighs 
2,652.8 grains (at 62° F.), the socket would weigh 
955,008 grains. Again, as there are 3,000 shekels in 
a talent, and a shekel weighed about 280 grains 
(original standard), the talent or socket would weigh 
about 840,000 grains; which sufficiently agrees with 



the former product, especially as some alloy (0.138 
parts of copper) was probably added to harden the 
metal. We note that the estimate of 280 grains to 
the shekel is exactly that of the Assyrian standard 
(Madden, Jeioish Coinage, p. 264, note). This subject 
has been greatly confused by writers not observing 
that the shekel was (eventually) a coin as well as a 
weight, and that its value therefore greatly varied in 
the different metals (gold, silver, and copper) used for 
money, as well as in different periods. The ancient 
specimens that exist have also been worn by circula- 
tion. The earliest Jewish shekels extant are of the 
age of the Maccabees, and were struck on the debased 
Phoenician standard of 220 grains to the (silver) shekel, 
equivalent to the Greek tetradrachm, whicli was itself 
originally much higher, and was lowered in the 
Ptolemaic period to 260 grains. The ancient native 
Egyptian metrology was related to the Hebrew in 
measures but not in weights. The silver shekels of 
Maccabsean date in the British Museum at London, as 
we have ascertained by personal inquiry, weigh sev- 
erally 220, 216.5, 215, 213.2 and 213 grains, accord- 
ing to the degree of wear ; there is also a half-shekel 



24 STRUCTURE OF THE TABERNACLE. 

\\ inch, square) were in the middle of the sockets, and the (centre of the) tenons -| of 
a cubit from the edge of the plank, the sockets would leave a space between them 
of \ of a cubit, except those of the corner planks, which, if (like all the rest) they 
were 2 to each (as the total demands, 96 in all, xxvi, 19, 21, 25 ; besides one under 
each of the four columns that supported the vail, ver. 32 ; xxxviii, 27), would nicely 
fit in between those of the adjoining planks, as in the annexed diagram. * 




Arrangement of the Corner Sockets. (S. W. angle.) 



of the same metal and age, which weighs o\\\y 99.1 
grains, being very much worn. Copper shekels usu- 
ally exceed these specimens very greatly in weight. 
Most or all of the silver shekels sold to travellers in 
Palestine are imitations, and genuine copper shekels 
are exceedingly rare. A copper (really bronze) double 
stater (so to call it) or tetradrachm (adopted as an 
equivalent in weight for a quadruple shekel) of the 
period of the Ptolemies (the obverse has only the 
Ptolemaic conventional head of Alexander the Great 
as Jupiter Ammon, and the reverse the title " of 
Ptolemy king," with an eagle grasping thunderbolts, 
and the indeterminate mint-mark delta between its 
legs), obtained by the Author from the natives at 
Gaza (where it may possibly have been struck, see 
Head, Manual of Greek Numismatics, p. 680), weighs 
1051 grains, although considerably worn; which 
yields about 263 grains to the shekel. The gold and 



silver coins of the Ptolemies gradually decline in the 
successive reigns from 265 to 174 grains to the 
drachm or shekel (Poole, Catalogue of Egyptian Coins 
in the British Museum, p. 1-120). The Greek coinage 
of the Seleucidse, during the same period, exhibits a 
similar deterioration from 265 to 200 grains (Poole, 
Cat. of Syrian Coins in the Brit. Mus., p. 1-112). The 
copper currency of course was less subject to the 
temptation to fall off from the standard, which thus 
appears to have stood, at the Macedonian conquest, 
at not less than 265 grains to the shekel. We can- 
not therefore safely fix it lower than 280 grains to 
the shekel for the time of Moses. 

* Our arrangement is the only one hitherto pro- 
posed that makes all the sockets of the same size and 
proper form and in their places without interference 
with one another. Lack of uniformity would have 
caused great confusion and delay. 



BARS AND RINGS. 25 

(3.) For the purpose of keeping the planks in line, three series of bars were pro- 
vided, made of acacia-wood overlaid with gold, to pass through rings of gold stapled 
into the face of the planks outside (xxvi, 26-29). There were five bars (in three rows) 
for each bent, the middle one continuous for the whole stretch, * and the upper and 
lower ones divided into two lengths (of course in the middle, and probably dowelled 
with a pin in the adjoining ends).f The diameter of the bars and rings not being given, 
(nor indeed tlie size of any of the bars and rings of the edifice and furniture), we may 
suppose these to have been stout sticks (probably \ of a cubit in diameter), \ as two of 
them were very long, and all were exposed to a severe strain. The upper and lower 
courses were probably set as near as possible to the extremities of the planks, i. e. (as 
we shall see) about the middle of the last cubit. From the above noticed mention of 
a " first ring " in the case of the corner-plank, we infer that each had two of these 
rings. § 

(1.) The whole structure was doubtless stayed with cords and tent-pins, which 
would be conveniently fastened to the copper knobs fl in the planks, set in the outer 
face one cubit (as we will hereafter see) below the eaves, as a point of attachment 
likewise for the roof-curtain (ver. 11, 13), to be presently considered. These tent- 
pins, like those of the court-posts, were no doubt of copper ; and we presume shorter 



* Ver. 27. The last clause should be rendered, 
" Five bars for the planks of the side of the Taber- 
nacle, [namely] for the two flanks [i.e., ends of the 
rear] westward." These bars, of course, were round, as 
they were passed through rings (Heb. sing, tabdath, 
something impressed, hence a finger or seal ring ; the 
same word used of all the other circular rings of the 
Tabernacle furniture). A plausible mode of arranging 
them is to make them in five rows, the middle or third 
one passing through the centre of the planks them- 
selves; but there are insuperable objections to this: 
(a.) It disagrees with the text, for this bar would not 
then pass through rings at all (ver. 29, "rings [of] 
gold [for] places [lit., " houses "] for the bars ") ; and it 
would no more " reach from end to end " than all the 
others, (b.) Unless the planks were made inordi- 
nately thick, this bar (evidently of the same size and 
material as the rest) would have to be made so slender 
that it would break with its own weight ; and in any 
case it would be impossible to push it through so long 
an aperture. 

f So Josephus understands the case (Antiq. III., 
vi, 3), for he occasionally has a good suggestion, 
although he makes a sad bungle of most of the de- 
scription. 

X If the bars are thus made of the same size as the 
pillars and tent-poles, they will exactly continue the 
slope of the roof canvas over the eaves at the same 
angle as the peak. They will be partly buried in the 
side-wrap of the corner-planks, but enough of the lat- 



ter will remain not cut away for the requisite strength, 
on account of the necessary projection of the staples 
for the rings. 

§ The careful reader will note that the text dis- 
tinctly constructs the two corner-planks out of two of 
the rear planks only, not each of them out of a rear 
plank and a side plank combined. It also speaks of 
but one set of rings in this connection, namely; those 
intended for the bars. Again, it will be perceived that 
the rear has 16 sockets assigned to it, and each side 
40 ; therefore the overlap of the corner plank has no 
extra socket, and it needs none, for it rests on the 
last side socket. 

|| Heb. sing, hires (erroneously rendered' A. V. 
" tache," i. e. hook), which Paine ingeniously com- 




8 



Fig. 9. — Tache and Ankle Compared. 
1. Natural Form. 2. Typical Form. 3. Artificial Form. 

pares with its kindred karsol, the ankle, from the strik- 
ing resemblance to the latter as viewed from behind. 
See the remarks on these fixtures farther on; 



26 STRUCTURE OF THE TABERNACLE. 

stays of the same kind were attached to the gold knobs on the inside, as the roof can- 
vas would not be a sufficient support. 

(5.) The only other attachment to the planks, here to be noticed, was a double 
blanket * of peltry on the outside, doubtless suspended on the curtain-knobs, and evi- 
dently intended to cover the joints, and thus keep out the wind and rain, like a 
shingled weather-boarding, or the tarred-paper sheathing of modern houses (ver. 14 
and parallels). It consisted of a sheet of fur from some kind of animal, f doubtless 
with the hair side inward next to the gold face of the planks, and another of ram- 
skin, dyed red, over it, with the hair side out, so as to shed the rain from the eaves.;]: 
Their dimensions are not given because, the skins being of indeterminate size, so 
many of them as were found necessary were to be stitched together for the purpose. 
They of course extended to the top of the planks, slits (like button-holes) being made 
in them (as their toughness would allow) for the reception of the knobs on which 
they hung. 

2. As to the roof, the first question that necessarily arises is, whether the edifice 
had a peak or was flat-roofed. This is definitely settled by the single word tent,% 
which is distinctively applied to the upper portion of the structure, erected "upon" 
the Tabernacle walls (xl, 19), and which by no possibility of usage, in any language, 
can mean anything but a canvas covering with a peak. The necessity of shedding 
rain, and the invariable style of Bedawin encampments, moreover fix this as an incon- 
trovertible principle of architecture in such cases. An Oriental house-roof of mortar, 
clay, etc., is entirely another affair, not to be thought of here. || 



* Heb., makseh, a covering, applied only to this par- 
ticular tiling and to a precisely similar service (as we 
shall see) in Noah's ark (Gen. viii, 13), although the 
root from which it is derived frequently occurs of 
clothing or other envelopes, especially for the sake 
of concealment. It was a perpendicular sheeting. 

f Heb. tdchash, (A. V. "badger," R. V. "seal"), 
usually thought to be some marine creature, but pos- 
sibly the Angora goat, noted for its fine long silky 
fleece. (See p. 78, note.) 

\ In all the passages where these are mentioned 
the Heb. term millemalah (lit. "from as to upward"), 
which lias unfortunately been rendered simply 
"above," but means from the top downward (like the 
water of the Flood, Gen. vii, 20, which was 15 cubits 
deep from the surface to the summits of the sub- 
merged mountains), stands at the end of the clause 
in the original, and applies to both sheets of skin. 
The position assigned them by all writers previous 
to Paine, namely, on the roof, is too absurd to be enter- 
tained for a moment. 

§ Heb. ohel, constantly used of a canvas tent ; but 
unfortunately rendered " covering " in the A. V. in 
this case (Exod. xxvi, 1, etc). We might securely 
rest upon this ground of evidence, were it the only 



one; but those who have any doubt of its sufficiency 
will find it impregnabty fortified by the subsequent 
adjustments, especially the breadth and arrangement 
of the roof-curtains. Yet Fergusson and Paine alone, 
among our predecessors, have had the scientific in- 
sight to perceive this obvious implication and necessity. 
A flat roof would have become mould}' and rotten 
irretrievably the first month of winter, especially with 
the fur robes piled on the top. Moreover, how un- 
sightly would have been a mere box, like a coffin with 
a pall over it I Aflat canvas roof, however tightly 
stretched, must have sagged so as to catch tons of 
water, if impervious; breaking the canvas, and indeed 
causing the whole structure to collapse. Or if, as is 
more probable, the rain would penetrate the canvas 
bowl (so to speak), it would deluge the apartments, 
especially the Most Holy place, where no one was 
allowed to enter, even for the purpose of lifting the 
roof with a rod, so as to allow the water to run off. 
In every point of view, the flat-roof scheme is utterly 
impracticable. 

I Nearly all the proposed plans of the Tabernacle, 
being on the flat-roof principle, fail to make any ade- 
quate provision for securing either set of curtains, or 
indeed for disposing of them at all. Even Fergusson, 



ROOF CANVAS. 



27 



(1.) Accordingly we have an account of the roofing material, which is goat's-hair 
canvas (i. e. camlet), exactly snch as is employed for Arab tents to-day, being gener- 
ally of a foxy-black or brownish hue (Cant, i, 5). It was woven in 11 pieces, each 30 
cubits long and 4 wide (ver. 7, 8), and these breadths were joined * into two 




Fio. 10.— Arab Tents in the South of Judah. (From a photograph.) 
It will be perceived, from the white stripes on one of these tents, that the cloth runs horizontally. 



although, as a professional architect, he perceives the 
necessity of a peak-roof, is obliged to extend the roof- 
sheets into unwarranted wing-slopes, and to furl the 
others in rolls at the gables, where they would soon 
mildew and decay. The misery of all these d-evices 
is that they bring the precious Vail in the worst 
possible place, namely, directly under the gap in the 
roof occasioned by the union of the curtains by means 
of loops and S or C hooks. To pile the '' tachash " 
and ram skins on the top, in order to stop the leak, is 
a pitiful contrivance. The " taches," the true mean 
ing of which Paine was the first to point out, are the 
key to the whole situation, as they afford a firm sup- 
port to all the connections. The Revised Version 
renders them " clasps " at a venture (or from Whis- 
ton's Josephus) ; but these would be unsuitable for 
loops, and do not mend the matter. The rain-fall 
during the showers in the winter on the Sinaitic pe- 
ninsula is often prodigious (Palmer, Desert of the Ex- 
odus, p. 33, 129, 177, Am. ed.), and snow occasionally 



falls to the depth of several inches in the valleys 
about Mt. Sinai (Ridgaway, The Lord's Land, p. 80.) 
In March, 1874, the Author, with his party, was over- 
taken by a snow storm at Mt. Sinai, of such severity 
as to compel them to take refuge in the convent there 
for several days. Writers who think only of the dry 
season have little knowledge in the case. 

* Heb. chabdr, to associate together as companions, 
(A. V. "couple,") evidently by sewing into a sheet 
(ver. 10, where a derivative of the same verb is used); 
so also of the side curtains (ver. 3). The same verb 
indeed is used to denote the junction of the two 
sheets on the knobs (ver. 6, 11), because they are 
there also united by the edges, although in a different 
manner. If the intention had been simply to join 
the two sections of each set of curtains into one im- 
mense sheet, they would of course have been sewed 
together at once, like the individual breadths, instead 
of resorting to the clumsy and imperfect seam by 
means of loops and hooks, as interpreters have done. 



28 



STRUCTURE OF THE TABERNACLE. 



separate sheets, one containing 5 and the other 6 of the pieces of cloth (ver 9). The 
extra or sixth " curtain " or breadth of the second sheet was employed for a peculiar 
purpose, namely, not as a part of the roof -covering, but to be wrapped across the 
front and rear gables.* In order to do this it must have been attached to its fellow- 
breadths not by the selvedge, like the others, but at the end of the lowest or (eave) 
breadth, f We have therefore two goat's-hair sheets, each 30 cubits long by 20 -wide, 
but one of them with extensions (or " L parts " so to speak), one twice as long as the 
other, in the manner of the diagram on the following page. (See Fig. 11.) 

Again, as these elongations of one of the breadths were to be folded across the 
gables, the other breadths must likewise run horizontally, but along and upon the roof. 
For this purpose they would be exactly long enough (for the 20 planks, each 1^ 
cubits wide, make also 30 cubits), and their combined width (20 cubits) would like- 
wise be exactly broad enough to go over the ridge, and buckle down over the knobs 
in the planks4 This last fact is very important, for there was no other provision 



* That this is the true meaning of the expression in 
Exod. xxvi, 9, " And shalt double [Heb. kaphal, to 
" fold," without regard to the number of thicknesses ; 
for it is used of repetition indefinitely] the sixth cur- 
tain in the forefront [lit. " towards the front of the 
face "] of the Tent [not " Tabernacle," as in the A. V. ; 
for there was no wooden wall, or Tabernacle part, 
in the front of the building]," is clear from the use 
of the same phrase to describe the position of the en- 
graved plate on the high-priest's head-dress (Exod. 
xxviii, 37), " upon the forefront," certainly not across 
the back of his head. In ver. 12, accordingly, the ex- 
pression is very different, " [As to] the remnant [lit. 
" overflow," i. e. extended flap] that remaineth [lit. 
"the superfluous," i. e. jutting out on this end] of 
[lit. " in "] the curtains of the Tent [i. e. roof-part], 
half of the [not "the half," as in the A. V.] curtain 
that remaineth [lit. as before, "the superfluous," 
i. e. jutting out portion on the end] shall [or "thou 
shalt "] hang [lit. cause to " overflow "] over [lit. 
" upon "] the backside of the Tabernacle [i. e. wall- 
part]." Nor is either of these two parts of the sur- 
plus or sixth roof-curtain the same with that part 
immediately afterwards described (ver. 13), "And a 
[rather " the "] cubit on the one side [lit. " from this "], 
and a [lit. "the"] cubit on that side [lit. " from that "], 
of that which remaineth [lit. "in the superfluous," 
i. e. excess] in the length [not parallel with the 
eaves, but across them] of the curtains of the Tent 
[i. e. roof-part], it [omit this word as ungraminat- 
ical, not found in the text, and misleading] shall hang 
[lit. " be overflowing "] over [lit. " upon "] the sides 
of the Tabernacle [i. e. wall-part], on this side [lit. 
" from this "] and on that side [lit. "from that"], to 
cover it." Mark that in ver. 9 only so much of the 



sixth curtain is to project at that end as is necessary 
to fold (once) across the front (i. e. 10 cubits); while 
in ver. 12 half (10 cubits) of the residue (20 cubits) of 
the curtain projecting at the other end is to be folded 
(twice, but separately reckoned, as we shall see) 
across the rear; and still again, in ver. 13, there is a 
(different) excess of one cubit to be folded down each 
side. This last "length of the curtains of the tent" 
is not reckoned horizontally, but vertically, as 
"breadth" is in xxxviii, 18; in both cases height 
being really meant. 

Note that the preposition here employed is 'el 
(A. V., " in "), which means a flexure in a horizontal 
direction ; not 'al, which would have indicated vertical 
motion. With this agrees the other distinctive term 
here added, namely, mul, which is lit. cut off, i. e., an 
abrupt and perpendicular surface. The extra roof- 
curtain, therefore, was neither spread nor furled over- 
head, or on either side, but was used to inclose the 
upright gables in frout and rear. 

f Paine was the first writer, from Josephus down, 
to suggest an endwise union of either set of Taber- 
nacle curtains ; but he joins this sixth roof-curtain 
wholly at the end of its fellow, folding all of it across 
the rear of the building, for which it is more than 
enough, although he makes the Tabernacle 1 2 cubits 
wide by 29-$ long (inside measurement), or 12£ wide by 
30 long (outside) — both disproportionate numbers. 

iflf the peak be an isosceles triangle of 70° (a 
sacred number) at the apex (giving 55|-° at each of the 
other vertices, a very proper slope for a roof), the 
base being 10^ cubits (i. e. the width of the room, 
plus the thickness of the walls), each side of the roof 
will be exactly 9 cubits wide, and these with the cubit 
below each eave will make up the required sum. 



ROOF CANVAS. 



(unless possibly a pin at each end of the middle bar) to prevent the tops of the planks 
from parting laterally (as the strain of the transverse stay-cords at the ends of the 
line would certainly make them do), except the stretching of this roof-canvas across 
their face. Moreover this roof-canvas stretched tight across the ridge would keep 
the whole of the building from parting, under the outward strain of the stay-cords 
directly opposite. 



066606066666666666660 
PPPPPPPPPPPPPPPgpggPP 



6 -6 h b 6 6 fi 6 ft ft ft 6 L 



H 6 6 6 ' 6 fr fr&frW6frftfrfrfrfe tf 



J U U U U U (J u u J 
made up and furnished with Loops 



-Roof-eurtains 

a. Five breadths, b. Six breadths 



The sixth or surplus breadth of the larger roof -curtain, as we have seen, was 
folded across the bottom part of each gable, partly closing this triangle, and prevent- 
ing the draught of air through the rooms (which were otherwise entirely open in the 
front peak).* As it was 30 cubits long (like all its fellows), one third of it was suf- 
ficient to do this, single-fold ; + and this gives us a clew to the peculiar significance of 



* The reader should note how important a purpose 
the extra roof-sheet also served in covering the other- 
wise exposed top of the rear planks and their attach- 
ments. Uniformity in this respect is maintained all 
around the three sides of the edifice. 

f The peak, if an angle of 70°, as we haveassumed, 
would be very nearly 7£ cubits perpendicular height 



above the tops of the planks, and the gable curtain 
would rise 3 cubits high above them, so as nearly to fill 
up the rest of the triangle, in the manner shown by the 
annexed diagram (Fig. 12). The opening at the peak 
was needed for light and ventilation, serving both a3 
a window and a chimney; but a full current of air 
would have p\it out the lights of the candelabrum. The 



30 



STRUCTURE OF THE TABERNACLE. 



the word here translated " double." * It suggests that the curtain in question was 
actually laid on "double thickness" (as we say); in other words, that the other part 
of it was employed in repeating the same process, simply by reversing the operation 
of folding. This additional security against the weather was doubtless extended to 
the other roof -curtains, and that will effectually, readily and consistently dispose of 
the remaining or smaller sheet of 5 breadths. The whole roof, in short, was of double 
canvas, like the " fly " over the best modern tents. 

The lower edge of each sheet was buttoned securely over the curtain-knobs by 
means of loops \ (doubtless likewise of goat's hair, probably twisted into cord) attached 
to the selvedge (ver 10). X The fact that each sheet had 50 of these, while there 



gores at the top of the folds (occasioned by the slant of 
the roof) would be tucked in between the two layers 
of roof-canvas. The small gores at the corners of 
the eaves (occasioned by the extra width of the 
planks beyond the peak) may be covered by extend- 
ing the skin-blankets a little above the tops of the 




Fig. 12.— Rear Ga ble nearly closed by the sixth Eoof- 
cuvtain. 
The front gable was partly closed in like manner, but by a single 
fold. 

planks, where they would likewise be held between 
the layers of the roof -canvas. (See Pig. 13.) In the 
same manner they probably lapped around the front 
edges, so as to be buttoned to the hooks in the end- 
posts of the door-way. If any further support were 
needed for the front fold of canvas, it might also be 
buttoned to an extra hook in the central post. It 
should be observed that these immaterial points are 
left to the discretion of the builders. 

* Heb. kaphdl (noted above), which properly means 
to " wrap around," but is frequently used in the sense 
of duplication, and sometimes in that of continued 
reiteration. 

■(•Heb. only in the plu. lulaoth (lit. "windings"), 
nooses, used solely of this particular thing, and a kin- 
dred word lulim, a spiral staircase (1 Kings vi, 8). 
These loops were probably rove through eyelets in 
the edges of the curtains; those of the roof-canvas 
apparently having the ends merely tied together in a 



ring, and those of the side drapery knotted at the- 
back. (Compare Fig. 16.) 

% The language here used is peculiar, •' Thou shalt 
make fifty loops on the edge [lit. "lip"] of the one- 
[ rather " first "] curtain [i. e. breadth], that is out- 
most [lit. " extreme "] in the coupling [i. e. sheet, as 
sewed together], and fifty loops in the edge of the- 
curtain that coupleth the second [rather, "(namely,) 
the second coupling"]." This cannot well mean 
merely, as understood by most interpreters, that each 
sewed sheet had fifty loops on one of its edges ; 
for besides the circumlocution to express so simple- 
an idea, they would then be exactly alike in this re- 
spect, whereas the phraseology expresses consider- 
able difference between them. With Paine, we take 
the statement to signify that each sheet, as applied 
to the building, covered the space occupied by that 
number of loops, reckoning the whole circuit of the- 
reof, from one front corner round the sides and 
back, to the opposite front corner; in other words, 
the 50 loops of each sheet include the rear, as being 
necessary in order to complete their circuit: and in- 
asmuch as this was double, the inner fold is attributed 
to the elongated inner sheet, of which it was actually 
a part, and the outer fold to the outer sheet, of which 
it was the complement. This mode of estimation is 
favored by the reference, in the passage itself, to the 
extremities of the line of measurement. The uniform- 
ity of proportion was thus maintained, although the- 
sheets themselves were unequal, and their attach- 
ments varied accordingly. 

For the sake of convenient comparison we place- 
here, in parallel columns, an exact translation of this. 
and the remarkably similar, yet characteristically dif- 
ferent, account of the other set of hangings for the 
same structure (ver. 4, 5), which we will presently 
consider in detail. The words in the parallel account 
(xxxvi, 8-18) are identical (in the original) except as 
to tense. 



ROOF CANVAS. 



31 



were but 50 of the knobs in all to which they were attached (ver. 11), confirms our 
position that the curtains were double, one being fastened on directly over the other. 
If all these 50 loops had been sewed on a single edge of 30 cubits' length, they 
would not only have been greatly crowded (occurring about half-a-cubit apart), but 
would also have been out of harmony with all the other associated spaces. The cubit in 
the span of the canvas across the roof was carried down (as already noticed) over the 
eaves, and served to close the joint perfectly, shedding the drip to the ram-skins 
(ver. 12).* 




the Roof-curtain at the Corner. 



The cut exhibits the outer layer of the canvas at the north-west angle, the little gore at the left-hand top of the 
iar wrap being brought out of the tuck under the side (or roof) curtain's edge, so as to show it. The inner layer 
aes under this, coinciding with it, and the double blanket of skins between them. 



Roof curtains (Exod. xxvi. 10.) Side curtains (Exod. xxvi. 4,5). 
And thou shalt make fifty And thou shalt make loops of 
loops upon the lip (edge) of the violet on the lip (edge) of the 
first curtain Las] the endmost first curtain from an end in the 
in the joining, and fifty loops joining, and so shalt thou make 
upon the lip (edge) of the cur- in the lip (edge) of the curtain 
tain [as] the second joining. [as] in the endmost in the sec- 

ond joint. Fifty loops shalt 
thou make in the first curtain, 
and fifty loops shalt thou make 
in the end of the curtain which 
[is] in the second joint; the 
loops receptive one toward the 
other. 

The two Heb. terms carefully used in the above 
passages for distinguishing the two kinds of margin 
which every piece or sheet of cloth necessarily has, 
must not be confounded, as they seem to be by every 
interpreter whom we have consulted, namely, saphdh 
(lit. Up, A. V. " edge"), which is the selvedge or lateral 
(woven) margin; and katseh (lit. end, A. V. "edge"), 



or its equivalent kaisdh (lit. end, A. V. " selvedge "), 
with its derivative kitsyon (lit. endwise, or endmost, 
A. V. "uttermost," "utmost"), which denotes the 
raw edge or terminal (cut) margin. The lip is the 
natural border of the mouth (which is not a gash in 
the face), while the other term (from katsdh, to clip ofi') 
is the abrupt end. 

It is to be borne in mind that the rear laps of the 
roof-curtains, although exactly one third the length 
of those on the side of the building, require each 8 
loops, instead of 1, in order to meet the correspond- 
ing knobs, which are closer together at the corner 
than elsewhere. (See Fig. 11.) 

* This " superfluity " or overlap (different from that 
of ver. 12) is said to be "in the length of tlie cur- 
tains," because it showed vertically when hung. 



32 



STRUCTURE OF THE TABERNACLE. 



(2.) The roof was obviously sustained by an extension upward of the central 
door-post (soon to be considered) in front of the entire building, and no doubt by a 
similar one in the rear, with probably a third in the middle of the whole edifice. These 
served as tent-poles, and their heads were probably bevelled on a curve so as not to 
perforate the canvas. They were of course stayed by extra ropes near the top, doubt- 
less by means of a noose, kept from slipping down (as in the court-posts) by an ad- 
ditional hook, which last would likewise serve to receive an eyelet in the edge of the 
roof -canvas at the peak. There is no evidence, as there was no need, of any other 
posts or cross-ropes (or cross-poles), nor of a ridge-pole (or ridge-rope), which is not 
customary in Arab tents.* 



Compare the converse expression in xxxviii, 18. The 
length of the exterior or roof curtains is given accord- 
ing to the inside dimensions of the building, as we 
shall see is done with great exactness also in the case 
of the interior or wall curtains. But as the outside 
of the building was of course larger than its inside 
(by the thickness of the walls), the extra length of 
roof-canvas falls short considerably (namely, f [at the 
front] + f [at the rear, where the corner-board is 
doubled] = If cubits in all) in wrapping across the 
gable three times. To meet this deficiency we must 
suppose that a notch or slit (the raw end of course 
bound or hemmed to prevent ravelling) was made in 
the edge of this extension at the corner, running up 
sufficiently to meet the slope of the roof (i. e. about 
l£ cubits), and this break in the continuity of the 
looped edge facilitates the attribution of the loops of 
the dissevered selvedges to the under and the outer 
layers of the roof canvas, which we have seen to be 
required in order to maintain uniformity in the num- 
ber of the loops ; especially as the layers were put 
on separately, with the skin-blankets between them. 
If it be asked, Why was not this sixth roof-curtain 
made a little longer at once, so as to cover the 
corners completely? we reply that this would not 
only have deranged the uniformity of dimensions 
(a point which we shall see is important in the 
symbolism — where ho odd fractions are permitted), 
but would also have caused a larger and thicker 
gore at the corner than could have been neatly 
tucked in between the layers of the roof-canvas, 
especially as the extension must then have been 
made at least two cubits longer, to wrap (four times) 
over the bars and rings of the corner, and all this sur- 
plus would be accumulated in the gore. The trian- 
gular gap at the corner may be covered by carrying up 
the blanket of skins sufficiently above the tops of the 
planks ; and the fulness thus occasioned in their 
short gore may be relieved by a slit of their fold like- 
wise at that point (which could not be done in the 



longer fold of the roof-canvas without dissevering it 
entirely). (See Fig. 13.) The ridge remains precisely 
30 cubits long, and this regulates the length of the 
roof- canvas. The ends of the roof-sheets, it will be 
observed, are maintained square, and the tent-poles 
perfectly plumb, while the rear gable is a little wider 
at the bottom, so as to cover the tops of the planks. 
An extra hook or two may be inserted in the tent-pole 
to support the upper edge of this front and rear lap, 
and one also in the edge of each front plank, if neces- 
sary; for the number of hooks (and of their corres- 
ponding eyelets) is nowhere stated. 

Paine, to whom, as above acknowledged, we are 
indebted for this segregation of the eleventh roof- 
curtain and its loops, is unable to use it to advantage 
because he makes the building twelve cubits wide in- 
stead of ten. He has therefore not enough ma- 
terial to wrap across the front gable, but too much 
to wrap twice across the rear gable. The six surplus 
cubits of curtain must therefore, on his scheme, be 
folded away between the side layers, and go unfur- 
nished with loops, although they occur in the very 
middle of the looped portion, without anything to 
mark the break in the continuity of the loops. 

* A ridge-pole would have been excessively heavy 
if stout enough to prevent any sag, and a ridge-rope 
would have been no stronger than the canvas itself. 
Arab tents have ordinarily nine perpendicular poles, 
arranged in three rows, of three each, which corre- 
spond respectively to the ridge and the two eaves. 
The roof-canvas is merely thrown over their tops, 
extending in a long slope on all the four sides to the 
ground, to which it is stretched tight by cords and 
pins. The entrance is simply by raising a flap of this 
canvas, which in the day-time and fine weather is 
kept open by an extra pole or two standing obliquely 
outward like an awning. The interior is divided into 
two apartments (the front usually for the men, and 
the rear for the women) by a screen stretched 
along the middle line of poles. All this is exactly 



FRONT SCREEN. 33 

3. The interior hangings of the building were of a far finer texture than the roof- 
curtains. 

(1.) The entrance was closed by a screen precisely like that of the outer Court 
(xxvi, 36), supported by 5 pillars in exactly the same manner, except that they were 
overlaid entirely with gold (hence requiring no separate caps), and that the hooks 
were of gold (ver. 37), the sockets (and of course the tenons) being of copper. We 
]) resume that these pillars were of the same form and size also, both with each other 
and with those of the Court, and we have already supposed the central one to be car- 
ried up to the height recpiisite to support the peak. 

Placing the first and the fifth pillar as close to the walls as the side-curtain will 



analogous to the .arrangement of the Tabernacle, ex- 
cept that the walls supply the place of the side rows 
of poles, and that the partition is thrown further 
back. 



onal form, with one central post, and the others dis- 
posed circularly around it, the outer walls falling per- 
pendicularly from them to the ground, and braced by 
the usual cords and pins. This strikingly approaches 




Fig. 14.— Probable Form of the First and Third " Tabernacles." (See pages 9 and 10.) 
The Vail is seen across the middle of the tent, corresponding to the partition between the men's and the women's apartments. 



The central tent-pole among the Bedawin is the 
general receptacle of loose utensils, which are hung 
upon it, as was the practice among the ancient As- 
syrians (Layard, Nineveh, ii, 214, Putnam's ed.). It 
would be a most convenient place for suspending the 
sacerdotal wardrobe, when not in use (Lev. xvi, 
2:!). 

Occasionally, especially on the outskirts of civiliza- j 
tion, we meet with an Oriental tent that has an octag- j 
3 



the plan of the Tabernacle, and we have suggested 
that the tents temporarily erected for sacred purposes 
by Moses and David may have been of this descrip- 
tion. (See Fig. 14.) One such is exhibited in the 
photograph from which Fig. 10 is copied, and another 
with a wing curtain also. This form has the advan- 
tage of greatar compactness of space for the head- 
room afforded, and may serve to distinguish the 
residence of a noted personage. 



34 



STRUCTURE OF THE TABERNACLE. 



allow,* we have four openings left of about of 2 cubits each (or 3£ feet) in the clear, 
which is ample for a person to pass through. The pillars of course were stayed fore 
and aft by cords and pins, but needed no bracing laterally, as the rods held the tops 
equidistant, and the side walls kept the whole line from falling either way. 

(2.) The wall drapery, already several times referred to, consisted of ten pieces 
of cloth woven of the same materials as the door-way screens, but in this case only 4 
cubits wide, and 28 long ; sewed together into two large sheets, and buttoned with loops, 
(of violet [cord]) f to golden knobs in the walls, altogether analogously to the roof- 
curtains (xxvi, 1-6 ; xxxvi, 8-13)4 These two sheets are explicitly said to be 
exactly alike, and to be similarly furnished with loops ; hence, borrowing the hint, 
from the duplication of the roof-canvas, we presume they were intended to be hung 
double along the walls. § If so, they were sewed together endwise, like the fifth and 
sixth cloths of the larger roof -sheet. || This completes the system of double house 



* The two copper sockets for these pillars (or posts) 
may be set adjoining the silver sockets of the planks, 
with a small interval between as a mortice to receive 
the copper tenon. The rear tent-pole will exactly 
fall between two silver sockets, and its copper socket 
may be sunk below them out of sight. 

f In the case of the roof-curtains, as we saw, the 
material of the loops was not specified, because it 
would be taken for granted as being the same with 
the simple material of the curtains themselves. But 
in the present case there is need of stating which of 
the two materials, linen aod wool, that composed the 
side-curtains, was selected, and, again, which of the 
three colors used in dyeing it was chosen. As they were 
made of twisted (i. e. two-stranded) cord, and this again 
of either single or double thread, the three colors could 
not have been employed in equal proportions in their 
composition (nor would such a mottled color have 
been suitable in itself or consonant with the other 
colored objects), and of the three the cerulean was 
far the most appropriate on the overlaid background 
(" blue and gold "). But there was another and more 
imperative reason for the use of "blue" (violet) as the 
color of these loops : they were always attached (as 
we shall eventually see) to (or near) the upper cor- 
ners of the violet stripe in the cloth, the eyelets, 
through which they were rove, being set entirely 
within that color. The only exception to this rule 
(so obviously proper; for violet loops on a different- 
colored edge would have been unseemly, when in 
plain sight) is in the extreme corners, where there is 
no violet stripe to be shown, and where the union is 
concealed by the two folds coming together, as do the 
ends of the loops also. The stripes of different colors, 
woven, are maintained of uniform width and succes- 
sion in the same piece of cloth, as must have been 
done in weaving them. (See Fig. 16.) 



X See the comparison of the language used respect- 
ing these two series of curtains, as given above and 
below. 

§ This suggestion is countenanced by the special 
Heb. word employed to denote their combination,, 
makbil (xxvi, 5; xxxvi, 12, only; A. V. "held," 
"take hold "), lit. "causing to receive," being the par- 
ticiple of a causative conjugation of the verb kabdl, 
usually rendered " to receive." The reader should 
note that the loops " take hold one of another " (as 
the A. V. in xxvi, 5), not " held one curtain to 
another" (as the A. V. in xxxvi. 12). They fall 
directly upon each other, being duplicated like the 
curtains themselves. 

|| This last named fact is the final justification of 
the singular phraseology (as previously exhibited) 
designating the resemblances as well as the differ- 
ences between the two sets of curtains. They alike 
had 50 selvedge loops in the entire course of each 
layer as put on the building ; the " coupling " or com- 
bination, meant in this connection not being that of 
sewing together into one sheet (as in xxvi, 3, 9; 
xxxvi, 10, 18), but that of bringing the corresponding 
sheets over each other in the erection (as in xxvi, 6 ; 
xxxvi, 13). Hence the use of the term "endmost" 
curtain (i. e. the piece sewed at the end of its neighbor, 
and not at the side or selvedge, like the rest) only in 
speaking of theirs* sheet of the roof-covering; where- 
as it (or its equivalent "end") is applied to both side- 
sheets. The terms " first " and " second " here, as. 
applied to the " curtains " or the " couplings," mean 
not those previously described as five-breadth or six- 
breadth sheets (for with regard to the roof-canvas the 
smaller one is named first, whereas here it is the 
larger that is thus designated), but those laid on first 
or second, i. e. the under and the outer layer respect- 
ively. 



DOUBLE COVERINGS. 35 

coverings for every closed part of the edifice — a twofold blanket of skins on the out- 
side of the walls, like a weather-boarding ; a twofold drapery of linen-and-wool * on 
their inside, like a wainscoting ; and a twofold canvas of camlet on the roof and rear 
gable, like a shingling. All the front-coverings were single, as here the structure was 
strictly a tent. "We observe incidentally that both sets of " curtains," although sub- 
stantially duplicated, as if sufficient for two such structures, are pointedly said (ver. 
6, 11) to be so brought together by the knobs as to form " one tent " and one " taber- 



Wenote, in order to exemplify the exactitude char- 
acteristic of this whole text (although at first sight 
almost unintelligible), that the description of the side- 
curtains is repeated (with some intentional variation) 
in both accounts, although their arrangement was 
really very simple ; while that of the roof-curtains, 
which were more complicated, both in themselves, and 
especially in the numeration of the loops, is but once 
given in each account. The reason for this lies not 
merely in the circumstance that the former are men- 
tioned earlier in the sacred narrative, and therefore 
more fully and explicitly, while the latter, coming in 
immediately afterwards, are given more briefly and 
vaguely, as if but a repetition of the other in all subor- 
dinate points not clearly specified; but it is also be- 
cause definiteness of meaning requires it. In the case 
of the side-curtains, we have at large the color of the 
loops and their selvedge position— two points, connect- 
ed by the significant requirement that in both these 
respects the two sheets be exactly alike; and then 
follows a more minute specification of two particu- 
lars, namely, the number of the loops (the two sheets 
again corresponding in this, but so obviously that the 
addition of " likewise " is unnecessary), and their 
sheet distribution (this latter of course also corres- 
ponding with the same item previously stated in 
another form) ; but to compensate for omitting " like- 
wise " in this verse, the comprehensive remark is sub- 
joined, that when superimposed on each other the 
two sets absolutely tally. In the case of the more 
summar}' but equally accurate account of the roof- 
curtains, on the other hand, we have the correspond- 
ing elements of these two propositions relative to each 
sheet blended, so that there are four facts of resemb- 
lance brought out, as before, but not eight, for so many 
do not here exist ; and the account, unless prolix in 
minutiae to a degree and in a manner repugnant to this 
document, must epitomize the account, leaving the 
reader to make out the meaning by a careful adjustment 
of all the details and the whole connection. Accord- 
ingly we have a succinct statement of the number and 
position of the loops on each sheet, as they appear 
when the sheets are put together ; the color and ma- 
terial — the only different elements — being here taken 



for granted. Now had the arrangement of the curtains 
and their loops been so similar as most interpreters 
make them, the writer would have simply repeated 
the description of the side-curtains (varying of course 
only the circumstances of material, size and number), 
as he does in other instances of correspondence (for 
example, the two altars); or he would have simply 
abridged it, as he does in other instances (for example 
the several door-screens and posts). But he could 
truthfully do neither, because there were important 
differences to which he must allude, however briefly ; 
and these are accordingly implied, but not specifically 
dwelt upon. It is inevitable that these almost oc- 
cult distinctions should create ambiguity and puzzle 
the student. For this very reason we have devoted 
so much space to their elucidation, as thej' materially 
affect the reconstruction ; and the conventional modes 
of disposing of these curtains, especially the colored 
ones, have led only to hopeless conjectures, false 
exegesis and impracticable restorations. This part of 
the structure has truly been the pons asinorum of in- 
terpreters. We have faithfully tried to guide the tin- 
prejudiced reader safely over the quagmire, ourselves 
thankful to have found so stable footing. We are 
now prepared therefore to present the following as a 
free version giving the correct meaning of the two 
passages in parallel columns. 
Side curtains (Exod. sxvi, 4, 5.) fioof curtains (Exod. xxvi, 10'. 

Thou shalt make loops of vio- Thou Shalt make fifty loops 

let [cord] on the selvedge of the on the selvedge of the under 

under curtain [-stuff mining all curtain [-stuff, including the 

along] past [each] end [-seam] corresponding portion of the 

in the [combined] sheet; and piece sewed] endwise in the 

thou shalt do the same on the [combined] sheet ; and fifty 

selvedge of the curiam [-stuff, on the selvedge of the curtain 

that runs similarly] endwise in [-stuff, which forms] the upper 

the upper [combined] sheet; [combined] sheet [including in 

fifty loops in the under curtain like manner the corresponding 

[-stuff], and fifty in the end portion of the endwise piece], 
[-wise] curtain [-stuff] which is 
in the upper [combined] cloth — 
the loops to coincide with each 
other. 

*Not limey-wool sey (the shaatnez of Lev. xix, 19; 
Deut. xxii, 11), in which the thread is composed of 
these two materials carded and spun together. 



36 



STRUCTURE OF THE TABERNACLE. 



nacle," respectively. This would surely have been an inappropriate remark, if both 
had been stretched single overhead, as has been done by interpreters from Josephus 
to our own day.* 

A notable dignity, however, is given to these side-curtains, beyond the beauty 
of the door-way curtains so far mentioned, which they otherwise exactly resembled 
in fabric, by their embroidery of " cherubim of cunning work " (xxvi, 1 ; xxxvi, 8), 
instead of the simple tracery upon the other colored hangings. Leaving the dis- 
cussion of the form and character of these figures till we meet them as statues over 
the Ark, we have here to consider how the curtains themselves were adapted to so 
bold a delineation, f As they were each twice as long as the entire circuit of 

the three walls, they must in some way have 
been gathered in (for the straight lines character- 

*That the dark goat's-hair curtains, aud the party-colored 
wool-and-linen ones were not applied to the entire edifice in 
the same manner is certain from the distinction expressly- 
made everywhere in the sacred text as to their purpose and 
use. The former constituted the sloping roof and the triangu- 
lar gables of its "tent" part (ohel xxvi, 7, "for a tent [A. V.. 
inexactly "covering"] upon the tabernacle; " 11, "couple the 
tent together; " 13, " curtains of the tent ; " yet carefully, ver. 
13, the eave breadth only of one cubit is to "hang over the 
sides of the tabernacle; " and ver. 12, similarly the rear gable), 
while the latter adorned the upright walls of the " taberna- 
cle " part (mishkdn, ver. 1, 6). No portion of either set was 
spread horizontally; for the building had no floor but the 
ground, and no ceiling but the roof. Indeed, as even the En- 
glish reader will see, a cloth stretched so as to form a hori- 
zontal surface is never called a " curtain ; " nor in any other 
position Ithan a vertical one (partly so at least) can it appro- 
priately be said to be " hung." Note, however, that each " cov- 
ering" of skin began at the top, (millemalah) on the "tenf 
part (ver. 14), i. e. between the two layers of the roof cur- 
tains, although, as it continued downward, of course it was 
mainly on the upright walls of the tabernacle. The same dis- 
tinctions are nicely repeated in the subsequent statements 
(xxxvi, 8, 13, 14, 18, 19; xl, 19). 

■f Imagine the depicting of such awfully mysterious objects 
in all varieties of incongruous and impossible attitudes — some 
aslant, some horizontal, some actually upside down, all over 
the ceiling and walls of a sanctum like this ! Yet that would 
certainly result from the position ordinarily assigned these 
tapestries, unless the figures were embroidered upon them so 
displayed as to appear upright. If they had been worked upon 
the festooned part of the curtains they must have looked as 
if decapitated. This shows the necessity, when reproducing 
the Tabernacle in a manner that could be operated, of taking 
into account a multitude of considerations not usually thought 
of. 

Fig. 15.— Section of Wall-plank with Attach- The special emphasis laid upon the injunction, " See that 

ments. thou make all things according to the pattern shown thee in 




SIDE CURTAINS. 



37 



istic of the building and especially of all the other hangings, are not in accord with 
festoons ; nor will the thick and firm material admit of these).* The problem is how 
to arrange the folds in such a manner as to exhibit the cherubim perfectly and in a 
becoming posture. They would naturally be embroidered crosswise of the cloth, like 

N. E. 

First Curtain. Ow. 

rA 



w\- 



cpvcpvcpv cpvcp 
Third Curtain. 



c p 

«. E. 



Fifth Curtain. 



p v 



Fig. 16. — Wall-curtains Extended and Furnished with Loops. 

Three of the em-tains onlv, those at the beginning, the middle and the end of the series exposed to view, are here exhibited. The 
iniiTiiu iiinti Mi's (the second and the fourth) may easily be imagined, as they are of similar character. (See Plate IV, D.) The letters 
■■ ,.," .-.lid •■ .• ' designate the violet, the purple, and the crimson stripes respectively, which read (after the Hebrew order) from 
right to left. 

the different-colored bands, and would thus show standing, as the breadth of the stuff 
(somewhat over 6 feet) would conveniently correspond to their height (supposing 
them to have substantially a human form). Hence it is important that the folds of 
the curtain should be disposed regularly, so that the " fulling in " would conceal 



the Mount," as well as its repetition on several 
occasions (Exod. xxv, 9, 40; xxvi, 30; Num. viii, 
4), shows that many minor details were left out 
of the oral description to be supplemented by 
that ocular exhibit. Interpreters are therefore war- 
ranted and even required to exercise their ingenuity 
in discovering the most natural, simple, consistent 
and effectual mode of supplying these particulars. It 
is not sufficient for them, any more than it was for the 
original fabricators, to say that the thing was doubt- 
less done in some suitable way ; the precise manner 
must be pointed out or else conjecturally adopted. 



* The heavy and hard (" double-twisted ") thread 
of the linen warp (which, it should be noted, took all 
the strain, and this was very considerable, especially 
in the door-screens; certainly causing them to sag 
greatly but for this fact) would partly bury itself in 
the looser texture of the woollen woof (which is not 
said to be " double-stranded," as it would in that case 
have been too thick), but would at the same time 
materially stiffen these threads also. We may further- 
more observe that the under course of the side cur- 
tains would exactly follow the folds of the outer one, 
and thus aid in maintaining them in a graceful shape. 



STRUCTURE OF THE TABERNACLE. 



and distort the figures as little as possible.* If the loops be made of pieces of cord 
each 2£ cubits long (those in the corners proportionately less), with the ends fastened 
on the selvedge the same distance apart for each cord (so as to open flat with the 
cloth), and an interval of | of a cubit between the ends of adjoining cords, it will be 
found f that 50 loops will exactly take up the entire 140 % cubits of each curtain- 




Fig. 17. — Arrangement of Side Curt; 



sheet, including 4 corner-loops each occupying ^ of a cubit at the ends and middle ; 
while the folds will (except at the corners) each be f of a cubit wide (when hung), 
with a nearly smooth panel of the same width between them, sufficient for a cherub 



Finally the embroidered figures would greatly stiffen 
the panels. We may add that the droop at the bot- 
tom of the fnlled-in part of the curtains would not 
be sufficient to account for the difference between 
their height and that of the Vail, even if the folds 
included the whole excess of length (i. e. without 
any flat panels) ; so that long loops would in any 
case be necessary. 

* We presume that the cherubim were embroidered 
only on the outer curtain, as they could not be seen 
on the inner one. If, however, it be thought necessary 



to have the two precisely alike, this may be effected by 
simply reversing the order for the inner set of cur- 
tains; the figures then appearing on the face next to 
the wall, and beginning at the southern front, where 
they will fall exactly in due place under those of the 
outer curtain as above detailed. (See Fig. 16.) 

•j- We have proved this estimate by actual experi- 
ment, and we will (below) confirm it in a striking 
manner. 

| This number of itself, being exactly twice the 
circuit of three sides of the interior of the Sanctuary, 



WALL CURTAINS. 



39 



with folded arms and wings, or for the body of one with the wings extended.* (The 
annexed diagrams will illustrate these measurements, and the method of forming the 




Fro. 18.— Corner-folds in Wnll-eurta'ms. 



plaits.) Hence the curtains were not so long as those intended for the roof, which, 
if attached to each other in the same manner, would each yield 10 cubits more than 



suggests that the curtains in question were intended 
to be so applied. The degree of their fulness, how- 
ever, remains to be accounted for. 

* It will moreover be perceived that the loops, if 
so adjusted, will of themselves hold the plaits in good 
shape, when the curtains are hung on the knobs. 
They will also show much better with their ends 
parted into a triangle than if hanging straight down 



from the knobs. The two folds adjoining each corner 
will require less cloth for a proportionate degree of 
fulling, on account of the narrow spaces there afforded, 
as we shall see presently ; but they will project about 
as much as their neighbors. The careful reader will 
furthermore discover that the reduction of these 
shorter plaits near the corners, together with the 
omission of one entire plait (but not one loop) in the 



40 STRUCTURE OF THE TABERNACLE. 

can be thus disposed of.* The number of loops was determined by that of the knobs 
on which they were suspended ; namely, 50 of gold (ver. 6), and therefore smaller 
than those of copper for the outside of the planks, and inserted lower down, but in 
all other respects exactly corresponding to them. The number of the knobs again 
was fixed by that of the planks, and is therefore 20 for each side, 6 for the rear, and 




Fig. 19. — Length of Side-loops by Triangulation. 
The numbers indicate the proportion of the parts of the triangles. 

2 for each corner, requiring the total of 50, the knobs (except at the corners) being 
placed as near as convenient to the front edge of each side-plank, and in the middle 
of each rear-plank.f The height of these knobs from the ground fixes the length 
of the loops, and will be determined when we come to consider that of the inner Vail. 
4. The only other articles mentioned as essential to be placed within the front 
apartment or Holy Place were three, which we will here consider in detail. 



very corner, precisely accounts for the fact that the 
cubits in the length of the curtains are less than 
three times the number of loops (140 not 150), 
although each plait (with the alternate panel) requires 
three cubits of cloth. This is proved by a short cal- 
culation. An irregular knob being set in the rear 
edges of the last side-plank (in order to prevent the 
curtain from passing the corner diagonally, without 
penetrating to the angle itself), instead of the adjoin- 
ing side-plank (there being none such), there is a loss 
there (with respect to the' space usually covered) of 
\ of a cubit (i. e. twice the distance of the knob from 
the edge, which we put down as T ^ of a cubit). In 
like manner there is a loss of half a cubit in the rear 
part of the corner-plank (f — T %), the last item being 
the half cubit of the rear plank that shows inside, 
minus the three spaces usually allowed for the knobs 
from the edge of these three consecutive planks, 
which here are not saved. Hence we have the for- 
mula: 3 X 2 (1 + i -f- \ = If) = 10. We are the 
first to explain fully and satisfactorily the cause of 
this exact length of these curtains, which is so singu- 
lar among the other numbers and dimensions of the 
edifice, and especially different from that of the roof- 
curtains. In Fig. 19 we submit another mathematical 
demonstration of its accuracy. 



Finally, we may call attention to the fact, under 
this arrangement, that the edge of the curtains at the 
entrance will fall back a little farther from the front 
edge of the first plank than if the loops hung perpen- 
dicularly, and this is desirable in order to keep it out 
of the weather; and this again will allow a closer 
juxtaposition of the door-post to the side-wall, as is 
helpful in order to keep the former from swaying, 
since they are not fastened together by a hook (as 
in the case of the Vail). 

* The curtains were evidently meant to be "fulled 
in " to exactly half their entire length. The folds on 
the inside of the planks thus correspond, by their cor- 
rugation, to the Heece on the outside ; and in both 
instances, as already pointed out, they are duplicated. 

f This calculation serves likewise for the copper 
knobs on the outside, except that the loops will there 
be shorter, and both ends of each fastened together, 
so as to form simple button-holes (so to speak) closely 
clasping the knobs, and stretching the curtain per- 
fectly smooth. It must be borne in mind that in both 
sets of knobs, two will be needed in each corner- 
plank, one at the front edge, and another at the angle, 
in order to ■ keep the curtain uniform. This brings 
the inside corner knobs nearer their neighbors, as 
already taken into account. (Sea Figs. 11, 16.) 



TABLE OF SHOW-BREAD. 



41 



(1.) The first of these on the right or north side (probably about midway) was 
the Table of Show-bread * (Exod. xl, 22). It was made of acacia-wood, 2 cubits long, 
1 broad, and 1^- high,f overlaid (doubt- 
less the entire surface when put together) 
with gold (xxv, 23, 24; xxxvii, 10, 11). 
As a table it consisted, of course, of a top, 
sides, and four legs ; the first of the given 
length and breadth, exclusive of an orna- 
ment to be considered immediately ; and 
the last of the given dimensions, less the 
thickness of the top. This last we may 
estimate at somewhat less than what we 
have assumed for the boards of the Large 
Altar, let us say T V of a cubit (about \\ 
inch stuff). The top had a " crown "J or 
moulding of gold (apparently wood, plated 
with gold), evidently running all around 
the edge (but outside of the latter), and 
projecting above the top, to keep articles 
placed upon the table from slipping off : 
we may estimate this piece as the same 
thickness (at the base, narrowing to one 
half at the top), and \ of a cubit (or about three inches) broad (i. e. projecting one 
half its width above the table-top). The sides are called " a border " § or plain panel, 
being a hand-breadth (\ of a cubit) wide, and ornamented by another "crown" or 
moulding (this time likewise projecting out like the other, and similarly placed, but 
narrower, so as to be flush with the bottom of the side, and therefore included in its 
breadth), both plated with gold (ver. 25). The legs or " feet " (which we would 
make ^ of a cubit scpiare, their whole length), were apparently morticed into the sides 
(as usual now-a-days) ; for in the remaining directions concerning a carrying apparatus 
(precisely like that of the Large Altar, except that gold was to be used instead of cop- 
per), the rings, evidently stapled like those of the Tabernacle planks, are spoken of 
as being fastened into the tops belonging to (A. V. incorrectly " on ") the legs, and 
simply parallel with (" over against," i. e. longitudinally in a line with) the sides (vei\ 




-Table of Show-bread on the Arch of Titus. 
(From Reland.) 



* Lit. table of the Face (i. e. Jehovah's presence), or 
table of the arrangement (of loaves), or the pure table 
(in distinction from a domestic or common one). 

f This proportion between the length and the 
height is accurately maintained in the sculptured 
form ou the Arch of Titus. Oriental tables, it should 
be remembered, are usually quite low, being adapted 
to persons sitting on the floor, and not upon 
chairs. 

t. Heb. zer, lit. cincture, i. e. cornice; used only of 



this ornament on the Table and the Ark, and the 
Incense-altar. The Great Altar had no occasion for 
this additional rim, as it had no top or cover. The 
" cove " (or hollowed bevel) of the moulding of course 
was on the upper and outer side, making a neat 
finish all around the edge. 

§ Heb. rnisgereih, lit. inclosure; used only (as an 
architectural term) of this thing, and of a similar 
panel on the pedestals of the Temple lavers (1 Kings 
vii, 28-36; 2 Kings xvi. 17). 



STRUCTURE OF THE TABERNACLE. 



cijjj iLjb 



26, 27). The whole table, like all the other pieces of furniture, was simple and plain 
as possible, and strong for service. 

The bread placed upon the table is called in the Heb. face hread (show-bread), 
because set as before Jehovah's presence (ver. 30). Particulars concerning this are 
given in Lev. xxiv, 5-9. It was made of fine (wheat) 
flour,* baked in twelve loaves, f containing each one fifth 
of an ephah of flour (or about four quarts), which, if as 
spongy as good raised bread, would yield an enormous 
bulk, but probably, being more compact, was much less 
in size, say 12 inches in diameter and .4 inches thick — 
still a large family loaf. % They "were arranged " (in) 
two rows, six (to) the row," § which Jewish tradition, as 
well as the dimensions of the table, indicates to mean in 
two piles of six each, set of course lengthwise of the 
table ; and thus if the piles were in immediate contact 
with one another (as the necessity of mutual support in 
so tall a column, and the close association of the 12 tribes 
thereby symbolized, would indicate), they would leave a 
free margin of 4£ inches at each side, and 9 inches at each end (exactly proportional 
to the respective dimensions of the table-surface, and the whole a shapely mass 2 feet 
long, 2 high, and 1 foot broad). It is generally conceded that the loaves were placed 
upon the bare| table, without any plate or cloth. They were removed every Sabbath 
to be eaten by the priests exclusively (and that in the Sanctuary only); and were then 
replaced by fresh loaves (1 Sam. xxi, 6), which had been prepared over night by the 
Levites (1 Chron. ix, 32). (See Plate V, F.) 

No other substance 1" is mentioned as being set upon the table, except " pure " ** 
frankincense, which, as it is said to be placed " upon each [lit. " the "] row," ff but 
only " to [or " for "] the bread " (ver. 7, where the A. V. incorrectly renders the 



Fig. 21.— Transverse Section of the 
Table of Show- bread. 



* Doubtless unleavened, but beaten up light, like 
" Maryland biscuit." 

f A. V. "cakes," Heb. sing, challah, lit. perforated 
(affording color to the idea that it was punctured, as 
sacrificial cakes were among some ancient nations; or 
more likely, as is often done by modern bakers, who 
prick biscuits, partly for ornament, and partly because 
the steam is supposed to escape the more easily in 
baking), used only of sacrificial cakes (or as in 2 Sam. 
vi, 19, of something resembling them); therefore not 
the ordinary thin wafer-like loaf of Oriental bread, 
yet doubtless round and flat, but much thicker and 
more daintily put up. The best idea of these cakes 
is perhaps afforded by similar sacred loaves repre- 
sented on the Egyptian monuments (see Wilkinson, 
Anc. Egyptians, i, 266, where nearly all the articles 
and utensils enumerated in the Scripture list as be- 
longing to the Table of show-bread are depicted) ; we 



must be on our guard, however, against supposing 
that these are the models of those in the Taber- 
nacle. 

\ Five of them were sufficient for hungry David 
and his companions, perhaps for several meals (1 Sam. 
xxi, 1-6). 

§ Heb. maarekelh, lit. arrangement, used only of 
this particular thing, and hence (as seen above) taken 
at last to denote it technically. 

I Heb. tahor, " pure," i. e. in this case naked. 

Tf A dish of salt appears to have been added in later 
times, according to the Septuagint and Philo (comp. 
Lev. ii, 13, which, however, refers to sacrifices on 
the Altar of Burnt-offering). 

**Heb. zak, unadulterated, like the transparent oil 
used for the candelabrum (Lev. xxiv, 2). 

■ff We observe incidentally that this confirms the 
above arrangement of the loaves in piles. 



VESSELS OF THE TABLE. 



43 



latter preposition " on "), appears to have been (as was most appropriate) deposited 
not directly upon the loaves themselves, but in vessels for that purpose, where it could 
be conveniently renewed as fast as it should be consumed by the daily ministrations at 
the Altar of Incense (ver. 7). These vessels are doubtless the same as the censers * 
(mentioned in the same connection, A. V. "spoons"), i. e. incense-cups, not employed 
for burning the incense in (which was done in fire-pans, and moreover this was merely 
frankincense), but smaller than the receptacles of the same name presented by the 
phylarchs at the dedication (Num. vii, 14 and following) for keeping the incense in 
bulk. A different set of utensils connected with the Table were jarsf (A. V. 
" dishes "), evidently for the oil used to replenish the candelabrum adjacent, similar 
to the larger silver vessels of the same name (A. V. " chargers ") presented by the 
phylarchs on the above occasion, which also contained oil (Num. vii, 13, etc.). They 
probably were tall vessels with a narrow mouth for emptying. Another kind of 
utensil were jugs:}: (A. V. "covers"), which, as they were used to make libations with 
(A. Y. " to cover withal "), were doubtless for wine, § with a spout for pouring ; and 
closely connected with them were still a different class of vessels, perhaps smaller 
pitchers || (A. V. " bowls "), for the immediate sacrificial act. None of these vessels 
seem to have had either handle or cover, although most of them might be thought to 
require closing in order to keep out flies, dust and other impurities ; and especially 
the incense-cups, to prevent evaporation of the aromatic powder. It must be borne 
in mind, however, that a cover would be inconvenient for the priest to remove, and 
the vessels appear to have been intended to hold only a comparatively small quantity 
at a time. The saucers for the frankincense would diffuse a pleasant odor during the 
week, and what was left in them was burned (on the Great Altar) every Sabbath (ver. 
7-9), together with what was not eaten of the stale loaves. Indeed there was not 
room for large utensils on the Table, but as there would appear to have been but two 
(the plural is used of them all) of each kind (that number being stated with regard to 
the incense cups, which, however, were set on the top of the piles of bread), we may 
readily accommodate one of each of the three other kinds on either end of the Table.!" 
All these vessels were of gold entirely pure, as was the overlaying of the Table itself, 
and indeed all the gold employed in the Sanctuary and its apparatus.** 



*Heb. sing, kaph, lit. the palm of the hand, a 
saucer. 

f Heb. sing. Jceardh, lit. deep vessels, spoken only 
of this article, mentioned above and in the parallel 
list, Num. iv, 1. 

\ Heb. sing, kasdh, lit. a round vessel, spoken only 
of this article as mentioned in these passages and in 
1 Chron. xxviii, 17 (A. V. "cups"). 

§Wine was poured out as a libation (Heb. neseJc, a 
pouring, A. V. "drink-offering," as unfortunate a ren- 
dering as " meat-offering " for an oblation of flour) 
in connection with many sacrifices on the Great 
Altar. To drink wine within the sacred precincts 
was a capital crime (Lev. x, 9). 



I Heb. sing, menakkith, lit. libation cups, occurring 
only of this article in this passage and in Jer. lii, 
19. 

Tf The two bowl-shaped utensils depicted as stand- 
ing upon the table of show-bread on the Arch of 
Titus at Rome are regarded by Edersheim {The Temple, 
etc., p. 134) as the mortars used for compounding the 
sacred incense. If intended to represent the vessels 
for oil and wine regularly set on the table, they are 
of a much later pattern than those of the Tab- 
ernacle. 

** Some alloy (to harden the metal) might be neces- 
sary in the plates of the Tabernacle walls, which wers 
subject to great wear. 



44 



STRUCTURE OF TEE TABERNACLE. 



(2) The next piece of furniture that we meet in glancing around the Holy Place 
is the Altar of Incense, which stood in the middle line, immediately in front of the 
Vail that separated the room from the Most Holy (Exod. xxx, 6 ; xl, 5 ; Lev. xvi, 
18), a position which is further proved by the fact that incense was daily offered upon 
it by an ordinary priest (Exod. xxx, 7-10), whereas the Holy of Holies was entered 
but once a year by the high-priest alone. Yet it was popularly reckoned as belong- 
ing to the Most Holy Place (1 Kings vi, 22 ; Heb. ix. 4), apparently on account of 
its great sanctity. (See Plate V, B.) 

In construction (Exod. xxx, 1-5 ; xxxvii, 25-28) it was very similar to the Table 
of Show-bread, being a simple box (probably of boards of the same thickness), two 
cubits high, with a top (destitute of a grate, because no fire came directly in contact 
with it), one cubit square, and horns (precisely like the Large Altar) ; and was en- 
tirely overlaid with gold (doubtless inside and out). It had a moulding around the 
edge (but none below this), and rings with staves to carry it, exactly like the Table of 
Show-bread.* There were no utensils specially belonging to it. The only use made 
of it was to burn incense upon it every morning and evening (as above). 

(3.) On the left or south side of the Holy Place, directly opposite the Table of 
Show-bread (Exod. xl, 24),f stood the third piece of furniture ; namely, the Candela- 
brum (A. Y. " candlestick "), the construction of which is minutely described (xxv, 
31-40 ; xxxvii, 17-24). It was hammered round, \ out of sheets § of pure gold, and 
weighed (inclusive of its utensils) one talent (i. e. 136.4 pounds avoirdupois). The 
mode of its manufacture indicates that it was hollow, and Josephus affirms that this 
was the case (Antiq. Ill, vi, 7). || Its size is not given, but Jewish tradition assigns it 
a height of about 5 feet, and a breadth of about 3£. On the Arch of Titus it meas- 
ures 2 feet and 9 inches high by 2 feet broad ; but the figures there delineated are 
not life size, and the proportion with the Table of Show-bread on the same sculpture, 
as well as with the men there exhibited, yields a size about the same as the above 
tradition. We may therefore fix the entire height (including the base) at about three 
cubits, and the entire breadth (spread of arms) at about two cubits. This would be 



* From the fact that the rings in this case are stated 
to have been set " beneath the moulding-corners," 
which is not said of the other pieces of furni- 
ture so equipped, we conclude that there was a slight 
space between them in those cases, but none in this. 
The reason for this difference was not simply because 
the Altar of Incense was the smallest, but because 
the Table of Show-bread had two such mouldings, and 
the bar would be symmetrically placed half-way be- 
tween them ; while the Great Altar had no moulding 
at all ; and in the case of the Ark, although it had 
but one moulding, and that in the same place as the 
others, yet the staples for the rings would have come 
so near the upper edge of the side (not there 
strengthened by a top fastened to them), as to be in 
danger of tearing away the wood, especially since the 
heavy stone tables of the Law were to be carried inside. 



•)■ Prom this language, in the absence of any ex- 
plicit statement, as well as from the congruity with 
the dimensions of the room, and with convenience in 
serving, we conclude that the position of both these 
pieces of furniture was with their length running east 
and west. 

% Heb. -miksliah (A. V, " beaten work "), which 
seems lit. to mean rounded, like a pillar (Jer. x, 5, A. 
V. "upright") ; applied also to the silver trumpets 
(A.V. "of one" or a "whole piece") and to the cheru- 
bim on the Mercy-seat. 

§ The parts might perhaps have been cast as plain 
tubes, but they could then not have been wrought 
into shape, for no anvil could have been introduced 
into their sinuosities. 

|| This view is corroborated by the term (Heb. 
laineh, lit. a reed) used for the " branches." 



G LB EN AND EL A Bit UM. 



45 



suitable to its location and use. As to its general form, the principal question is, 
whether the arms were in the same plane and of equal height ; and this may be re- 
garded as settled in the affirmative by the representation on the Arch of Titus, which, 
although copied from that of the Herodian Temple,* is doubtless a correct transcript 




Fig. 22. — Candelabrum on the Arch of Titus. (From 
Eeland.) 




Fig. 23.— Concentric Arrangement of 
the Enlargements of the Candelabrum.! 



* Tradition asserts that this candelabrum, after un- 
dergoing various migrations from Rome to foreign 
lands and back again, was finally lost in the Tiber 
during an invasion of the Gauls. (See the original 
authorities and their language in full, as cited by 
Reland, Be Spoliis Templi, chap. 13.) At all events it is 
certain that the sculptor must have had the original 
or a careful drawing of it before him. If it be thought 
that Titus would scarcely have had time to remove 
the candelabrum from the Holy Place (although lie 
seems to have done so with the Table of Show-bread) 
during his hasty survey of the sacred apartments 
while the rapid conflagration was in progress (Jo- 
sephus, Wars of the Jews, VI, iv, 1), the one actually 
rescued and represented on his arch may possibly be 
one of those which tradition reports as the present of 
the convert to Judaism, Helena, queen of Adiabeue, 
which were kept in an ante-room of the Temple 



porch. This may perhaps account for its difference 
from the Mosaic type. But in any case it must be 
borne in mind that the postexilian candelabrum was 
but a reproduction from memory of that in the Tab- 
ernacle. 

f It will be perceived that each section of the sem- 
icircles of which these lines are the radii (like a fel- 
loe in a half-wheel of which the lines are the spokes) 
is composed of two members : the shank (a plain 
tube) and the bulb (or swell), and that each has a 
third part or base (a circular double flange, as a 
means of connection, hence an actual joint) only 
where it is united to a different kind of piece ; namely, 
at the bottom and top of the central shaft and of the 
six arms, including the intersections of the shaft with 
the arms. There were therefore exactly 10 (screwed) 
joints (covered by as many caps) in the entire piece 
(exclusive of the seven movable insertions of the 



STRUCTURE OF THE TABERNACLE. 



of the Sinaitie one, except in its ornamental features (especially the octagonal base, 
with figured panels). (See Plate V, K) 

In detail the candelabrum consisted of three parts, each of which was made of a 
single piece of metal ; namely, a straight central stem, three pairs of semicircular 
branches on either side, and seven burners ; each of the first seven components being 
a round pipe with three kinds of ornamental enlargements at certain points, corres- 
ponding to each other in a radiate manner ; all these elements being substantially 
represented, in a more ornate style, on the Arch of Titus.* The main axis (Heb. 
yarek, lit. thigh, A. V. " shaft ") was no doubt spread out (like a trumpet) at the base, 
in order to give a firm support. It had four swellings (Heb. sing, gebia, lit. curva- 
ture, A. V. " bowl "), which were almond-shaped (i. e. the nut [not the blossom, 
for which this term is never used], or ovate, or tapering from a head, like a goblet 
or wine-cup, for which the former word is elsewhere used, Gen. xliv, 2-17; Jer. 
xxxv, 5), and are named first as rising immediately from the base and from the three 
intersections of the branches, and therefore are found (but only three of them) on 
each branch also as springing from the intersection like a new base.f (See Fig. 24.) 
Next in order on the main shaft at these intersections respectively are the same 
number of coronets (Heb. sing. Icaphtor, lit. chaplet, A. V. " knop "), i. e. doubly-flar- 
ing circlets, like the capital of a column (Amos ix, 1 ; Zeph. ii, 14), evidently below 
the intersection of the branches, as they do not appear on the branches themselves 
(except one at the summit, as a fresh departure), but corresponding to the expanded 
base (a single flange as terminal in this direction).;]: Once more there was a like 
number of finials (Heb. sing, jperach, lit. blossom, A. V. " flower "), like a bud just 
ready to burst into bloom (Isa. v, 24 ; xviii, 5 ; Nah. i, 4 ; besides an architectural or- 
nament of a like form in the Temple, 1 Kings vii, 20 ; 2 Chron. iv, 5), i. e. globes or 
receptacles for the arms and burners ; and these (which of course belong to the 
branches likewise) we have drawn in a bulb-like form with a corolla, aided by the 



lamps in their sockets), namely, the triple one at 
each of the three intersections (where the ends of 
the arms passed through the shaft on either side [as 
the flange or " knop " permitted by widening the 
neck of the shaft just at that point ; at the same time 
bracing the end of the arm], and were screwed into 
each other), and the four junctions of the almond- 
shaped " bowls " with the terminal " flowers." The 
"knops " or joint-covers are accordingly an integral 
part of the compound ''bowls" or whole pieces, that 
support the entire segment. If (as we have sup- 
posed) the pieces were made of sheets, there would 
be a seam the whole length of each, which would of 
course be on the back-side of the shaft, and on the inner 
curve of the arms. These might be soldered together 
(and the screws at the joints likewise be thus dis- 
pensed with), if the art of soldering gold were then 
known. 

* Josephus explicitly states (Wars, VII, v, 5) that 



the candelabrum displayed by Titus at his triumph 
differed considerably in some particulars, but never- 
theless it must have been substantially of the nor- 
mal type. 

f This appears to be the meaning in xxv, 35 ; xxxvii, 
21 ; for if the end of the branch were inserted simply 
into the stem, it would have cut it entirely in two, 
both being doubtless of the same diameter. We have 
therefore inserted the arms into the "flower" (of 
which, as well as the " knop," there are said to be 
four [i. e. one at each intersection, and one at the top] 
in the shaft, but only one in each arm [i. e. at the 
top]), which affords a sufficient enlargement at the in- 
tersection (i. e. not above it [for then there would have 
been at least two on each arm], nor yet [like the 
" knops "] below it). 

J The same meaning attaches to the proper name 
Caphtor, from the chaplet-like form of the island 
Crete or (still better) Cyprus. 



ORNAMENTS OF THE CANDELABRUM. 47 

spherical remains on the Arch of Titus. Finally come the lamps themselves (Heb. 
sing, ner, lit. a light, often used of a " lamp "), which of course were of the type uni- 
versally prevalent in the East; a flat, round or oval dish (usually of terra-cotta, but here 
of gold), with a handle (like that of a cup) at the blunt end, and a hole for the wick 
at the pointed end, while in a depression between is a larger central hole for pouring 
in the oil. In the present case we presume they were deepened into a cylindrical form 







Fig. 24. — Comparison of each of the Enlargements on the Candelabrum with its natural Type. 
a. Almond (1) and " bowl " (2) j b. Chaplet (1) and " knop " (2) ; c. Bud (1) and " flower " (2). 

at the base, so as to fit in the lamp-holders at the tops of the Candelabrum, and not 
easily fall off.* The wick was made of threads of linen (from the cast-off pontifical 
garments, it is traditionally said), and the oil was from hand-crushed and cold-strained 
olives (Exod. xxvii, 20). The lamps were lighted at the time of the evening sacrifice 
(Exod. xxx, 8), and extinguished, filled and trimmed at the time of the morning sacri- 
fice (Exod. xxx, 7 ; 1 Sam. iii, 3). They are traditionally believed to have held each 
half a " log," i. e. a little more than half a pint. (See Fig. 25.) 

The utensils mentioned for this last-named service, being those already referred 
to as made out of the same gold as the candlestick itself, were shovels (Heb. sing. 
machtdh, lit. coal-pan, A. V. " snuff -dish," being the same word used for the [copper] 
fire-pans of the Great Altar, Exod. xxvii, 3, etc.; the [gold] one of the yearly atone- 



: Such seem to be represented on the monuments of 



(Wilkinson, Anc. Egyptians, 2nd ser., ii, 37(5). 



STRUCTURE OF THE TABERNACLE. 



ment, Lev. xvi, 12 ; and " censers " generally), i. e. vessels for bringing live coals 
from the Great Altar with ; and tongs (Heb. always dual, malkachdyim, lit. double 
takers), i. e. tweezers for pulling up the wick, and holding the coal while blowing it 
to light the lamp. These utensils were carried by the officiating priest to the Court, 
where the tongs would be cleansed, and the coal-pan refilled for further use. 

(4.) The only remaining articles belonging to the Holy Place are the two Silver 
Trumpets * used to announce a removal of the camp, special festivals, the Year of 
Jubilee, war, or any other other notable event (Num. x, 2-10, etc.), which were to be 
of a single piece (probably manufactured like the pipes of the Candelabrum). They 
were straight (Josephus, Ant. Ill, xi, 6), as represented on the Arch of Titus, where 
they are exhibited as about equal to each other in average diameter, but unequal in 
length, one being (as compared with the dimensions of the Table of Show-bread, on 





Fig. 25. --Lamp (a) and its Socket (6). 

which they are represented as leaning diagonally, supported by a sort of bracket at- 
tached for that purpose to the middle of the opposite legs on one side) f about 3 cu- 
bits long, and the other only f as long or about 2 cubits (Reland's measiirements and 
view do not precisely agree with the photograph) ; while the minimum diameter of 
both is about ^ of a cubit (or 1|- inches), and the maximum -^ of a cubit (or T\ 
inches) ; the longer one tapering almost gradually to about the middle and then 
slightly enlarging towards the mouth-end, while the shorter one contracts at first rap- 
idly, and after the middle enlarges considerably. This difference in the size of the 
trumpets is so unexpected (as there is no allusion to it in any record, and it would 
have occasioned a difference in sound), that we must attribute it to foreshortening in 
the perspective, which the sculptor introduced, and the camera has enhanced ; and we 
therefore strike an average of 2£ cubits (about four feet) for the length of each. They 
would give a clear shrill note loud enough to be heard throughout the camp. 

5. We have reserved for convenient consideration here together some additional 
matters connected with all this sacred apparatus. 

*Heb. sing, chatsotserah, lit. a quivering reverberation, I f Evidently meant for the front; an additional con- 
used only for an alarm, or public signal, sometimes of firmation of the position of the Table longitudinally 
joy. (See Plate V, C.) I in the Sanctuary. 



MKTAL PLATING 



(1.) The metallic sheets, whether of copper or gold, could most conveniently be 
laid on after the wooden work was put together, and would serve to hold the angles 
firm. These laminae must have been beaten out with a hammer (in the absence of 
rolling-mills), and therefore have been comparatively small, as well as somewhat 
uneven in surface. Hence they were probably fastened on with nails of the same 
material (as soldering would have been inconvenient, and was perhaps unknown with 
such metals) ; and if these were made with counter-sunk heads, like modern screws, 
they might be driven home flush with the surface. The numerous joints or seams 
thus formed would greatly strengthen the fabric, and as the boards themselves 
(especially the planks of the Tabernacle walls, which were similarly " overlaid ") were 
so wide as to require to be made of several pieces of wood (no doubt dowelled together), 
their joints would thus be effectively covered and held together. The thickness of 
these metallic plates is likewise left to the feasibility of the case ; fortunately both 
copper and gold are the most malleable of the metals then known. 

Another inference from the foregoing premises is that the staples for the rings 
(to receive the cross-bars of the Tabernacle walls, and the bearing-poles of three of 
the pieces of furniture), as well as the " taches " or knobs (in the former), were bolted 
in and riveted before the "overlaying" sheets were applied, as they would otherwise 
be likely to come in the way of nails, and moreover would be unsightly protuberances 
on the surface, especially the copper ends of the " taches," showing inside the Sanctu- 
ary on the face of the gold.* 

(2.) As to convenience in packing for transportation, these rings and knobs 
would not need to be removed, as the Tabernacle planks would be smooth on the 
inner side, and thus could lie flat on the bottom of the vehicle ; or still better, if the 
wagon were without a bottom, the planks might be laid, face downward, on the axle 
or bolster ; and a second tier, face upward, over these.f The vehicles of the ancients, 
and especially those of the Egyptians, were properly carts with two wheels only, and 
even these must have had rough travelling in the trackless and often steep as well as 
tortuous defiles of the Desert. A wagon,% however, with four wheels and two axles, 

as to prevent chafing. The tablets and other articles 
within the Ark were no doubt kept wrapped in linen 
cloths, which would ease the jolt in moving. 

\ Heb. agalah, lit. "a. rolling thing " (Num. vii. 3-8), 
an Egyptian curricle (Gen. xlv, 19-27), elsewhere 
rendered "cart," as in fact it generally was. Since 
the silver sockets alone (to say nothing of the copper 
ones) weighed 6 gross tons (100x136.4 pounds), some 
special mode of conveyance must have been provided 
for them, beyond the six vehicles appropriated to the 
wooden and the fibrous parts of the edifice and its 
court. Perhaps the Kohathites (who were the most 
numerous of the Levites, and had only the light bur- 
den of the sacred vessels) aided their brethren the 
Merarites (who were the smallest branch of the 
Levitical tribe, and yet had the heaviest charge) in 
transporting these weighty (but not bulky) articles, 



* Paine infers (new ed., p. 92), from the special 
mention of these knobs among the various articles 
as completed (Exod. xxxix, 33), that they were sepa- 
rable, i. e. keyed on the back-side, and not riveted 
fast. This, however, would be an inconvenient cir- 
cumstance, exposing them to be lost in transporta- 
tion, and requiring unnecessary waste of time in 
taking them out and replacing them at each journey. 
His conclusion that they permanently belonged to 
the planks, from their constant and close mention 
together, is forcible. In the personal inventory 
(" by name," Num. iv, 32) of the articles packed and 
consigned for transportation (iii, 36), they are not 
separately enumerated, as are the sockets, the bars, 
tho tent-pins and the cords. 

f Strips of wood, perhaps covered with cloths or 
skins, were probably placed between the planks so 
4 



STRUCTURE OF TEE TABERNACLE. 



would have been much more suitable for the present purpose, as affording a stable 
support, and being less liable to jostle and overturn, especially for the long planks 
and poles. In either case the load would have to be bound together by cordage, and 
for this the stay-ropes would be at hand. The furniture was equipped for the 
porterage by hand, two men for the smaller pieces, four for the larger, and eight for 
the Great Altar. The utensils might also be carried by hand — for there was no lack 
of people to serve (who, however, had their own tents and baggage to carry), or they 
might more reverently be packed in some of the curtains and hangings of the Tab- 
ernacle or its court, when loaded for the march.* 



or possibly ordinary Israelites were subsidized for 
that purpose. A socket might conveniently be 
carried by two men with a tent-pin thrust through 
its mortice. The roof-posts and the wall-bars also, 
which were too long to be placed upon the wagons, 
were probably carried by men upon their shoulders. 
There is no trace of the possession or employment of 
camels by the Hebrews in this journey, although at 
present they are the only " ships of the Desert " 
possible by reason of the scarcity of water and the 
absence of roads. In fact the four wagons assigned 
for the transportation of the wooden portions of the 
structure must have been supplemented by extra 
vehicles, or else have made several trips for the pur- 
pose, as a little computation will show. A section 
of an acacia (seyal) branch in our possession, 4J 
inches in diameter and scarcely one inch in thickness, 
weighs half a pound, although thoroughly seasoned 
and free from knots. Each of the fence-posts of the 
Tabernacle court therefore weighed at least 50 pounds 
( -I 2 - 8 ), to say nothing of their silver caps and copper 
tenons ; and the 60 posts alone would weigh 3,000 
pounds, or about a ton and a half. By a similar 
calculation each of the wall-planks would weigh at 
least 600 pounds, to say nothing of the gold plating, 
silver tenons or other metallic attachments ; and the 
whole 48 would weigh 28,800 pounds, or about 14 
tons. In order to accommodate the number of 
wagons, the posts might safely be reduced to one-half 
the diameter that we have supposed for them, which 
would make their weight comparatively inconsider- 
able ; and in like manner perhaps the planks, so that 
they would weigh collectively (if only about an inch 
thick, greatly stiffened by the metal plates) about 
4 tons : but the difficulty of providing carriage, 
where resources (and especially human and animal 
force) seem to have been so abundant, is too slight 
to require a disturbance of our estimates or a stinting 
of the materials. Where six wagons were volun- 
teered, twenty or more, if necessary, could easily be 
procured. 

We may remark that the desert itself supplied this 



wood in abundance, and the copious store of metals, 
gems and weaving materials were provided in ad- 
vance by the divine direction (Exod. iii, 22; xi, 2) to- 
ash (Heb. shoal, the common word for a request, A. Y. 
most unfortunately "borrow," for they never ex- 
pected or were expected to restore) these things of 
the Egyptians (a just demand for their long and 
severe and unrequited labor), and the latter were only 
glad to bestow in hopes of hastening the departure- 
of their late serfs (Exod. xii, 33-36). These valuables- 
they afterwards freely contributed, as they were of 
little use for commercial purposes in the Desert. 

* In the camp the position of the several tribes was, 
as shown on the following diagram (Num. ii. iv, vii).. 

East. 

Judah 

Zebulon Issachar 

Moses 

Asher Aaron Simeon 

Aaronites 



Baggage £ 



Eh 



. Baggage Reuben JJ 



Gershouites 
Naphtali Gad 



Benjamin Manasseh. 

Ephraim 
West. 

The route pursued (See Plate I) was substantially- 
the same as the one usually followed by modern tour- 
ists, and presents no insurmountable obstacles, but 
has several difficult passes. It must be remembered 
that Moses himself was familiar with the region, and 
that he had in addition the guidance of his wife's rel- 
atives, and especially the ever-present pillar of cloud 
and fire. A special Providence is intimated at every 
step and juncture. 

On preparing for the march the priests (Aaronites,. 



INNER VAIL. 



SI 



III. The inner room, called the Most Holy Place ("holy of holies," a Hebra- 
ism), which we may compare to a shrine, was but a continuation of the front room, 
the walls, roof-canvas and side-curtains being the same. There are therefore but two 
objects of special consideration here. (See Plate IV, C.) 

1. The only division between the rooms was another screen, entirely similar to 
that of the outer door-way, except in one particular, and therefore requiring discus- 
sion only as to two points, in which it will be found highly determinative, as its name 
in the original implies (Heb. paroketh, lit. a separation, i. e. partition; applied only 
to this one piece of drapery). It is particularly described in Exod. xxvi, 31-33 ; 
xxxvi, 35, 36. (See Plate IV, B.) 

(1.) This differed from that of the door-way of the Holy Place in one respect 
only ; it was an embroidery of cherubim instead of plain figures, resembling in this 
feature the side-curtains, except that these were doubtless (as we will hereafter see) 
depicted with extended wings touching each other (requiring but two figures to fill 



i. e. sons of Aaron) first took down the Vail and 
folded it over the Mercy-seat, then wrapped the whole 
Ark in a blanket of fur [kept for this purpose], and 
covered this again with a sheet of all-wool violet, 
drawing the side-bars into a proper position. Next 
they covered the Table of Show-bread with a similar 
woolen cloth, placed all the dishes close around the 
piles of bread, wrapped the whole in a sheet of (all- 
wool) crimson, and covered this again with a fur 
blanket, putting in the side-bars for transportation. 
Thirdly, they wrapped up the candelabrum and all 
its apparatus in a sheet of (all-wool) violet, put the 
whole in a sack of fur, and hung it on a pole, to be 
carried in like manner. Fourthly, they wrapped the 
Altar of Incense in a similar violet sheet, and covered 
it with a blanket of fur, putting in the bars for carry- 
ing it. Fifthly, they wrapped up all the other ves- 
sels of the Sanctuary (including the silver trumpets, 
and the golden censers) in a similar violet sheet, and 
put them in another fur bag for carrying upon a 
polo. The Laver was doubtless prepared for trans- 
portation in like manner. Lastly, they cleared out 
all the (coals and) ashes from the Altar of Burnt- 
offering, spread a purple (all-wool) cloth over it, set 
all its (copper) utensils within (upon the grate), and 
then threw over the whole a blanket of fur, putting in 
the bars for carrying. Not until all this was done did 
the Levites (of the family of Kohath) approach to 
take up the pieces of furniture, place the bearing- 
poles on their shoulders, and march away with them. 
The other Levites then came, took down the court, tent 
and walls, and packed them on the wagons. The 
order in the line of march was according to the fol- 
lowing diagram, all parties retaining as nearly as pos- 
sible the relative position of the encampment. 



Judah, 
Issachar, 
Zebiilon. 

Moses, 
Aaron, 
Priests. 



Dan, 



Kohathites Reuben, 

(with the Furniture 

on their Shoulders), 

Asher, Gershonites Simeon, 

(with the Tent-stuff and Cordage 

on 2 Wagons), 

Naphtali. Merarites Gad. 

(with the Wooden-work and 

Fixtures on 4 Wagons). 

Ephraim, 

Manasseh, 
Benjamin. 

It may be presumed that the stations enumerated 
in Exod. xii-xix; Num. xxxiii, represent only the 
principal encampments, where the Israelites stopped 
for a considerable period ; and that the route indi- 
cated was that of the headquarters only, consist- 
ing of the leaders, the families and the ecclesiasti- 
cal establishment, while the younger men were 
scattered extensively over the peninsula in charge 
of the flocks and herbs. The pasturage appears to 
have been much more abundant then than now, owing 
to the denudation of the region of its trees and 
shrubs (for fuel, especially the manufacture of char- 
coal for sale in Egypt), and the consequent drying up 
of the streams. 



STRUCTURE OF THE TABERNACLE. 



the space *), for the cloth was (like the other screens) stretched tight (and therefore 
its length needed not to be mentioned, the space being otherwise given, namely, the 
entire width of the room). 

(2.) It was suspended, like the other door-way screens, upon pillars, in tins case 
made and furnished exactly like those of the front room, except that their sockets (and 
of course their tenons also) were of silver instead of copper, and that they do not 
appear to have had any connecting rods. The reason for tins last difference is that 
the curtain was fastened, not only (as usual with the rest) by (gold) hooks in the pil- 
lars, but also (as we will presently see) to the side-planks, and thus the whole line was 
kept from swaying transversely to the building. The pillars moreover were four 
instead of five (as in the case of the front-door), because no central one was required 
to sustain the peak here, and the end ones did not need to touch the wall for their 
support. "We therefore presume that they were placed with equal distances between 
them and also between them and the walls ; thus making five spaces of two cubits each 
(from centre to centre, less \ cubit for the spaces adjoining the walls). We prefer this 
method of distribution to that which places them in contact with the walls, leaving three 
spaces only ; because in that plan the passage-ways to the Holy of Holies, where a single 
man passed but once a year, are made wider than those of the front door- way through 
which many persons must have passed together often every day. The passage-ways 
are thus found to contract at every successive inclosure from without inward, as pro- 
priety demands, f 

(3.) The position of this inner Vail becomes important, in the first place, for the ob- 
vious reason that the dimensions of the two rooms as to length are indicated only by this 
division-line, and yet its location in this respect is not expressly stated at all. We are left 
to the presumption that the inner room was a square, and the outer one twice as long as 
broad ; conclusions that are certified by the proportions of the corresponding apart- 
ments in the Temple, as all agree. This will make the dividing line fall at f of the 
width of the 7th plank from the rear, and a hook must therefore be inserted at that 
point in the side-walls for that purpose, the presumption being that the posts on 
which the Yail hung were wholly within the Most Holy Place (i. e. the screen on their 
outer face, as in both the other cases). 

There is but one other intimation in the text concerning the position of the 
Vail, and the value or necessity of giving it (which is done in the most explicit terms, 
as if something important) does not appear until after close study. It is this : " And 
thou shalt hang up [lit. "give," i. e. place] the Vail under the taches [i. e. knobs of 
the side-curtains]" (Exod. xxvi, 33)4 I* must be borne, in mind that the side- 



*From 1 Kings vi, 23, 24, it appears that the 
spread or" a cherub's wings was reckoned as equal to 
the whole height of the figure. Hence these two 
cherubs touching each other with outstretched wings 
would leave an exactly equal margin on the Vail at the 
bottom and sides, supposing them to be placed just as far 
from thkitop as on the side-curtains, where they would 
seem to have been set in the middle of the breadths. 



•)- We will find another and more conclusive reason 
for this arrangement, when we come to consider the 
succession of colors on the wall drapery. 

\ Since it is not said how much below the knobs the 
Vail is to be set, the legitimate inference is that it is 
to be put immediately beneath them, as in other in- 
stances (Exod. xxv, 35: xxvi, 19; xxx, 4), whereas 
an interval (if any) is always indicated by a different 



POSITION OF TEE VAIL. 



S3 



curtains are only 4 cubits wide (i. e. high, when hung), while the Vail is 5 cubits ; 
the knobs therefore must have been set in the planks one cubit above the upper edge 
of the curtains. The direction in question reveals to us two interesting facts : first 
that the Vail was directly attached to the walls, but not to the knobs (for, as we have 
seen, a knob does not fall at the right spot ; nor could the Vail be buttoned conven- 
iently or securely upon one, had it been at the place, for it would not project in the 
proper direction), and secondly, that the loops were of such a length that the top of 
the curtains came one cubit lower than the knobs. The diagram (Fig. 19) on p. 40 
shows how mathematically true this would be in the mode of hanging the curtains 
which we have devised. * 



expression (e. g. Exod. xxvi, 12, 25; xxvii, 5). Ob- 
serve also that the language is, " under the knobs," 
i. e. their line in general, not under any particular 
knob. It should further be noted that this special 
command concerning the Vail could not have been 
given for the purpose of fixing its location or dimen- 
sions, since it really does not accomplish this in any 
direction ; nor yet for the purpose mainly and simply 
of indicating the height of the knobs from the 
ground (however usefully it may incidentally serve 
this end), for that might have been more directly 
and briefly stated. It was intended rather, as the 
language itself without any circumlocution implies, 
to point oitt some peculiarity in the mode of suspend- 
ing the Vail, different from that of the other screens, 
at the two ends at least (the most important points), 
namely, by a hook in the planks themselves, and 
not in the posts as elsewhere. 

We have assumed that the hangings of the in- 
terior door-ways, namely, of the Holy and the Most 
Holy places, were uniform in height with those of 
the outer court, i. e. 5 dibits (Exod. xxxviii, 18). in- 
asmuch as they were all for a like purpose of screen- 
ing from ordinary view. In the case of the Vail this 
is specially confirmed by the parallel height of the 
golden knobs, which could not well have been lower, 
if they were to furnish an adequate point of attach- 
ment for the interior stay-ropes, nor higher, if these 
last were not to encroach inconveniently upon the 
margin required about the furniture. The triangula- 
tion of the colored loops (Fig. 19) also corroborates 
the same conclusion. 

* There yet remains a still more crucial test of the 
accuracy and consistency of our method of disposing 
of these colored curtains. As the full planks are 
each 1J cubits wide, with a knob and a loop to each, 
and as the joined sheets are each twice as long as 
the entire circuit of the planks, it follows that every 
looped portion assigned to a plank must be 3 cubits 
long, which allows exactly one cubit for each of the 
component stripes of color. Now since the flat panels 



of violet, containing the figure of the cherubim, are 
each to be -| of a cubit wide between the ends of the 
loops that stretch them out, or a full cubit including 
the loops and their eyelets, there are left two cubits 
for the other two colors, one on each slope of the 
intervening fold of cloth. 

Again, as the entire length of each of the com- 
bined sheets is 140 cubits, a number not divisible by 
3 without a remainder, it follows that, if the stripes 
were woven uniformly in each separate (or uncom- 
bined) curtain-breadth (as we cannot doubt they 
were), some one at least of the colors must have 
fallen short or been redundant at one end or the 
other ; and the same conclusion results from the 
fact that each of these original or separate curtain- 
pieces of stuff was 28 cubits long, giving 9 full series 
of colors (9X3 = 27), and a surplus cubit for an en- 
tire stripe. Let us now suppose that the stripes be- 
gin at the front edge of the north planks, and proceed 
regularly along the walls (after the Heb. order of 
reading, as elsewhere observed), in the invariable 
succession of colors as enunciated in the sacred 
text, until they terminate at the front edge of the 
south wall. In order to bring the violet about the 
middle of the first plank (a position required as that 
of the embroidered panel, with its connected violet 
loops), let us commence with the color immediately 
preceding, i. e. the crimson ; and we will do this 
with a half stripe, instead of a whole one, in accord- 
ance with our uniform custom in the case of the 
door-screens. (This half-stripe of crimson, be it 
noted, will be hidden by the door-pillar at that point, 
so that the series will appear to begin in fact with 
the violet stripe, the one always mentioned first ir. 
the textual order of enumeration.) The succeeding 
purple stripe, together with half the following crim- 
son one, will complete the drapery for the first plank, 
the whole being in entire symmetry, panel and loops 
properly adjusted to the knob, and commencing as 
well as ending with a half stripe of the same color. 
The series will go on regularly, until we reach the 



54 



STRUCTURE OF THE TABERNACLE. 



2. At length we have reached the most sacred of all the penetralia of the Taber- 
nacle, which doubtless occupied the exact centre of the Holy of Holies (but a different 



end of the first piece of cloth, which will terminate 
with a half stripe of violet at the middle of the 10th 
plank; and the second piece of stuff, resuming the 
same series with another half stripe of violet will 
carry on the order regularly again to the end of this 
piece, terminating with a half stripe of purple at the 
last third of the 19th plank. The third piece of cloth 
will there take up the same order with another half 
stripe of purple, which, together witli half the ad- 
joining stripe of crimson will complete that plank, 
and the corner will be reached in like manner by the 
first half of the next crimson stripe, the middle of 
each plank thus far being in every instance covered 
by the violet panel. Here the half-cubit of the rear 
corner-plank will change the adjustment, the remain- 
ing half stripe of crimson making the short fold at 
the corner (without any intervening flat panel), and 
the succeeding violet stripe carrying on the series 
across the joint of the planks to the next fold, which 
will consist of the purple and the crimson stripes 
falling under the knob in the middle of the first full 
rear-plank, as it should. This last arrangement will 
continue regularly till the other corner-plank is 
reached in like manner by the last half of the 8th 
violet stripe of the third curtain-piece; and half the 
adjoining purple one will make the short fold for that 
plank, precisely as has been done in the opposite 
corner; while the remainder of the purple stripe, 
together with the whole of the succeeding crimson 
will make up the (somewhat short) fold on the first 
(i. e. rear) third of the 20th south plank (reckoned 
from the front of the building). Here the violet 
stripe next following will once more fall in the 
middle of a side-plank, exactly corresponding to its 
fellow on the opposite side of the room, and the 
same arrangement will regularly continue for every 
other side-plank to the front corner, the third cur- 
tain-piece terminating with a crimson half-stripe at the 
rear third of the 19th plank, the fourth piece with a 
violet half-stripe at the front third of the 1 0th plank, 
and the fifth piece with a purple half-stripe at the 
extremity of the line (hidden by the other door-pillar). 
Thus, the reversal of the order of the stripes on the 
opposite sides of the rooms is so compensated by the 
change in the panels at the corners that strict regu- 
larity is maintained throughout the entire series, and 
yet complete correspondence in the position of the 
20 violet cherubim-panels on each side, and the 7 at 
the end. 

Once more, the Vail, being 20 cubits from the 



front, and 10 cubits from the rear of the interior, will 
fall at the end of the first third of the 14th plank 
from the entrance (13|X 1^=20), or (what is the same 
tiling) at the end of the second third of the 7th plank 
from the end (CfXl^lO); and this point will be at 
the junction of a crimson with a violet stripe on the 
north side, and of a purple with a violet one on the 
south side, in both cases immediately in front of the 
14th violet (or cherub) panel from the entrance 
(where, be it noted, we have placed no pillar to hide 
it). This will give exactly 7 cherubim to each side, 
and the same number to the rear of the Most Holy 
Place, and 14 to each side and adjoining half of the 
Vail in the Holy Place, while the two on the Mercy- 
seat will correspond to the two on the Vail ; in no 
instance a cherub on two colors at once. Moreover, 
if the Vail itself be made to consist of two broad 
stripes (purple and crimson) for its two cherubim, re- 
spectively, with a half stripe of violet on either 
edge (like all the other door-screens), this will com- 
plete the circuit of the colors continuously in their 
uniform order around the three sides of the Holy 
Place, as well as those of the Most Holy. 

We are entitled to regard this marvellous series of 
perfect coincidences in the symmetry and congruity of 
the scheme which we have propounded for the adjust- 
ment of this set of variegated wall-curtains, no less 
than that of the plain roof-curtains, as a demonstra- 
tion of its truth. Novel as it really is, and compli- 
cated as it may at first sight appear, it must in the 
end carry conviction with all who will take the pains 
to trace it out. When the great Kepler published 
the volume in which he promulgated his famous 
l: laws " of the mathematical proportions existing be- 
tween the motions and distances of the planetary 
bodies, that have since become the basis of all exact 
calculations in astronomy, not anticipating their im- 
mediate triumph in public acceptance, he is said to 
have uttered the memorable words, "I can well 
afford to wait even centuries, if need be, for an ap- 
preciative reader of my theories, — since God has 
waited 6,000 years for an intelligent observer of his 
universe." In the same spirit of reverent confidence, 
albeit on a much humbler scale, we may be allowed 
to claim for our discoveries in regard to this piece of 
the divine handicraft, that we can equally well afford 
to wait a few years, if we must, for an adoptive 
student of our theory, — since Moses has waited more 
than three millennia for a consistent expositor of his 
inspired account of the sacred Tabernacle. 



THE SACRED ARK. 35 

spot in the Temple, 1 Kings viii, 8). This sole piece of furniture was the Ark,* 
j irobably standing transversely in the apartment so as to exhibit to the best advantage 
its several parts, which are described in Exod. xxv, 10-22 ; xxxvii, 1-9. 

(1.) In construction it was altogether similar to the other acacia-wood boxes 
which we have already considered, being 2£ cubits long, 1£ broad, and 1£ high (ex- 
ternal dimensions), plated with gold inside and out, including the bottom and the top. 
This last, called the " Mercy-seat " (Heb. kapporeth, lit. a covering, but not in the figura- 
tive sense of expiation ; hence used only of this article), was in fact a movable lid, of 
the same size as the Ark itself, and thus proved to have shut inside of the moulding-cor- 
nice (" crown "), which it had, like the other boxes, and of course flush with it, on the 
upper surface. It was likewise furnished with the usual apparatus for transportation, 
in the form of gold rings and gold-cased bars ; but in this case they fitted together 
tightly, so as never to be removed, which convenience for daily use required in the 
other cases, f The golden censer, with which the High-priest once a year only entered 
the Most Holy Place, was doubtless set upon this lid. 

(2.) Upon this lid also, hear either end, were placed those most remarkable 
objects, the Cherubim, which are occasionally referred to in Scripture,:]: but of which 
the most various and often grotesque representations have been made by later writers 
and artists. "We have, in this part of our work, to consider only their material form 
and their posture, leaving their symbolical significance to a later chapter. 

The statues (for they were such in the present case) were hammered out (the same 



* Heb. aron, lit. a receptacle i. e. a chest ; as a coffer 
for money (2 Kings xii, 9, 10), or a mummy-case 
(Gen. 1, 26). 

f The bars were not to be removed from the rings 
of tlie Ark because of its superior sanctity, which 
forbade all unnecessary handling (see 2 Sam. vi, 6, 7); 
and there was not the same occasion for ready pas- 
sage about it when at rest as in the case of the other 
pieces of furniture similarly ^guipped. 

| They are first mentioned in the account of the 
expulsion from Eden (Gen. iii, 24), where they have 
the emphatic prefix of the article (the cherubs, un- 
fortunately neglected in the A. V.), as if already 
well known ; and so in fact they must have been, 
especially to the Israelites, who were familiar with 
the representation of such figures on the Egyptian 
monuments. The winged animals of the Assyrian 
sculptures are also imaginary creatures of a like sym- 
bolical character, no doubt, but more gross in their 
conception. Our chief information concerning Script- 
ural cherubim (besides the passages here discussed) 
is drawn from the visions of Ezekiel (x, xl), in which 
they figure conspicuously ; together with a few hints 
in Isaiah (vi). The forms in the account of Solomon's 
Temple (1 Kings vi, 23-29; 2 Chron. iii, 10-13) and 
Kzekiel's (xli, 18-20), although of colossal size, are 



doubtless consistent with those in Exodus; and the 
living creatures of the Apocalypse (Rev. iv, 6-9) are 
but reproductions of them. It is noteworthy that 
the large cherubim of the Temple above spoken of 
are two in number, apparently corresponding to those 
on the Vail, and not to those on the Ark, which 
were there also. Those on the Temple walls were in 
like manner the representatives of the former em- 
broideries on the side-curtains; and it is a curious 
corroboration of our disposal of them in panels with 
a fold between, that the Temple wainscot was carved 
with alternate cherubim and palm-trees (Kzek. xli, 18), 
the palm-trees taking the place of the fold, which 
could not well be imitated in wood-carving. For 
artistic effect, the head is there somewhat turned, so 
as to fairly show two adjoining faces only; and of 
course the nobler ones are selected. The identity of 
the " living creatures " of Ezekiel with the cherubim 
is evinced by the fact that under both names they 
are represented as supporting the triumphal car of 
the Almighty (2 Sam. xxii, 11; Ezek. i, 26; ix. 3; 
x, 1, 4) ; they both had wheels connected with them 
(Ezek. i, 15 ; x, 9); were entirely similar in form 
(Ezek. i. 10; x, 14, where the ox-face is called a 
cherub-face, because the figure had a bovine leg and 
foot) ; and in Ezek. x, 20, they are expressly identified. 



56 STRUCTURE OF THE TABERNACLE. 

word is used as in prescribing the Candelabrum) of (sheets of) pure gold ; there- 
fore hollow, and not a plating over carved figures, as were Solomon's (1 Kings vi, 
35). They were doubtless in several pieces, put together like those of the Candel- 
abrum. The figures themselves were fastened to the lid in like manner (Exod. xxv, 
19, " of the Mercy-seat," lit. out from, it, i. e. permanently a part of it).* 

In shape the cherubim were substantially human, but had the split foot of an ox ; f 
and in addition to the man's face (the proper front) they had three others, namely. 




Fig. 26.— Cherubim of an Egyptian Shrine carried in a Boat by Priests. 



those of a lion and an ox (on the right and left sides, respectively), and that of an 
eagle (behind). Again, in addition to human hands, they had two sets of wings, one 
pair always folded (for the sake of modesty) obliquely downward and forward about 
the person, and the other used for flight or for various expressive motions or con- 
ditions.^: (See Plate V, G.) 



*None of the Heb. etymologies proposed for the 
word cherub is at all satisfactory. The surmise that 
it may be a transposition for rekeb, (a vehicle, namelj', 
for Jehovah), is the only one in the least degree plaus- 
ible. Nor do the cognate Shemitic languages throw 
any light upon the derivation. Probably it is of for- 
eign origin, perhaps Egyptian. 

f The " straight foot " of Ezek. i, 1, means the 
straight (or fore) leg. The same verse informs us 



that their color (not of the legs only) was that of 
polished copper. 

\ The description in Ezek. i, 5-14, where they are 
called animals (chayoth, A. V. " living creatures," like 
the zoa of the Apocalypse, A. V. unfortunately 
" beasts, " totally different from the chevdh, of Dan. 
vii, the theria of "Rev. xiii, which are wild beasts, a 
symbol of heathen political power, like those of the 
Assyrian monuments), is very particular, especially 



CONTENTS OF THE ARK. 37 

They were no doubt the normal or full height of a man (i. e. 6 feet, somewhat 
less than 4 cubits), and are always spoken of as maintaining an upright position (2 
Chron. iii, 13).* In the specimens embroidered upon the side-curtains we have sup- 
posed the upper or posterior pair of wings to be folded at the back and at the sides, in a 
quiescent state, while those figured upon the Vail were with these wings expanded hori- 
zontally, and those upon the Ark had the same pair of wings spread obliquely upward 
and forward in a hovering or brooding attitude (Exod. xxv, 20, lit. " And the cherubs 
shall be [permanently] expanding [like a bird fluttering over its nest, Deut. xxxii, 11] 
their wings as to upward, surrounding witli their wings over the cover ").f They 
stood facing each other, and looking down upon the Ark. The symbolism of these 
postures we leave for the present, pausing here only to note that these last were on a 
level (one cubit from the ground) with- those on the Vail, both being in a flying state, 
and at the same time they agreed with those on the curtains as resting upon something. 

(3.) The sacred Ark contained four articles, the first and most important of which 
was that from which it derived its distinctive epithet, " Ark of the Covenant " (or 
" Ark of the Law "), namely, of God with his people ; in other words the two tables 
of stone, on which Jehovah with his own finger wrote the Decalogue, after they had 
been prepared by Moses to replace the original two prepared by God himself, but 
broken by Moses in consequence of the idolatry of the " golden calf " (Exod. xxxi, 
18— xxxiv, 29, Deut. ix, 10— x, 5)4 

The second article contained in the Ark was the autograph copy of the Law, 
written out by Moses and deposited there (Deut. xxxi, 26) ; presumed to be the Pen- 



ver. 11, 12, which run literally, "And their faces and 
their wings [were] parted from as to upward; two 
[of the latter (as appears from ver. 9)] joining, each 
to each, and two covering their bodies. And each 
toward the surface of his face they went; toward 
withersoever the [i. e. their] spirit might be to go 
they went ; they would not turn themselves about in 
going." In other words, these singular creatures had 
four faces and four wings apiece (but not four heads 
nor four bodies), both the faces and the wings being 
separated at the top of the compound person into two 
sets of two each ; the upper two of the wings ex- 
tending horizontally so as to touch those of the ad- 
joining creatures (in the form of a hollow square), 
and the lower two bent diagonally toward each other 
over the middle of the person; as they had four 
fronts facing in every direction, and all actuated by 
a common impulse, they did not need to turn round 
in walking or flying ; but moved immediately in the 
direction of the face fronting the desired way. In 
Isaiah (vi, 2-7), similar figures are called seraphim 
(i. e. burning ones, from their flame-colored bodies), 
having six wings (as in Rev. iv, 7. 8), four appro- 
priated to purposes of modesty, the upper ones for 
veiling the face, and the lower the secret parts. We 



will have occasion to recur to this passage of Kzekiel 
more minutely hereafter. 

* Differing in this respect from those of the Egypt- 
ian monuments (where they are sometimes kneeling) 
and the Revelation (where they are often horizontal 
in worship). 

f This whole scene is aptly illustrated by the de- 
lineations of similar figures on the monuments of 
Egypt (see Wilkinson's Anc. Egyptians, i, 267-271), 
as well as of Assyria (Layard, Babylon and Nineveh, 
p. 643). Any objection to such representations, as 
conflicting with the second commandment, is obviated 
by the reflection that these were not figures of any 
actual being or creature, but only of imaginary 
objects. 

\ The only accessible stone in the immediate vicin- 
ity of Mt. Sinai is the bright red granite, of Jebel 
Musa itself, which is cracked into layers and checks 
as if by fire, or the dark porphyry of the adjoining 
mountains. On the summit of Jebel Musa there is a 
thin layer of compact gray granite, which might have 
been used. In any case two slabs of this size, one 
under each arm, would have been a sufficient load for 
a vigorous man to carry even down hill. We offer 
below some estimates on this point. 



S8 STRUCTURE OF THE TABERNACLE. 

tateuch in full, and thought to be the same afterwards discovered in the time of Josiali 
(2 Kings xxii, 8) ; but which must in the meanwhile have been removed, together 
with all the contents presently to be considered, for in the days of Solomon the 
Ark contained the two tables of the Law only (IKings viii, 9).* The other articles 
■deposited there were (as we learn also from Heb. ix, 4) a golden pot of the prov- 
idential manna (Exod. xvi, 33, 34), and the miraculously fruitful rod of Aaron (Num. 
xvii, 10).f 



* This difficulty is discussed with great erudition 
smd at large by A. Sennert in his essay on the con- 
tents of the sacred Ark (De iis quce futrunt in Area 
Foederis, Wittenberg, 1680, 4to), who reaches the 
conclusion that all the articles enumerated were orig- 
inally placed either in or near the holy receptacle, and 
rejects the rabbinnic opinion that a different ark is 
also spoken of, in which the broken tables of the 
original copy of the Law were deposited together with 
these additional relics; but he is unable to determine 
where or by whom the latter were eventually ab- 
stracted. 

f Some curious calculations may be indulged in re- 
specting the suitableness of the dimensions of the 
Ark for these purposes. As it was originally con- 
structed mainly or wholly for their reception and 
preservation, it may be presumed to have been just 
large enough in length and breadth to hold them 
conveniently ; but as they were comparatively thin 
the box was made of shapely height, and thus there 
would be ample room above them for the other de- 
posits. 

But we will descend to a more minute comparison. 
These stone slabs were inscribed on both sides ; and 
one contained, it is generally believed, the first five 
commandments (all of which relate to duties towards 
superiors [whether God, 1-4 ; or parents, 5] ; while 
the other slab contained the remaining five (all of 
which relate to duties towards equals); thus corre- 
sponding very closely to our Lord's epitome of them 
into two precepts. The Ark had an interior capacity 
(if we have rightly estimated the thickness of its bot- 
tom and sides as being the same as in the case of the 
Table of Show-bread and the Altar of incense, namely 
^z of a cubit) of 2J cubits long, 1| wide, and lf\- 
deep. This would allow the " Tables of the Law " to 
be each 2\ cubits long, 1 J- wide, allowing | of a cubit 
at the side for introducing the fingers in order to 
handle them, but*iving no other play for sliding in 
transportation. These proportions, exactly 2 to 1, 
suggest a transverse, rather than (the conventional 
one of) a longitudinal, division of each face of either 
slab, yielding two columns, both exact squares, for 
inscription. Deducting \ of a cubit for margin, we 



have left (in all) 8 spaces, each precisely one cubit 
square, for engraving the only words ever known to 
have been directly written by the Almighty in human 
characters. Presuming these to have been identical 
with those preserved to us in the two copies of the 
Ten Commandments (although the passages recording 
them, Exod. xx, 2-17 ; Deut. v, 6-21, have some ver- 
bal variations, with regard to which we may presume 
that the former is the more exact transcript), we may 
proceed to distribute them according to the above 
scheme. With Masoretic nicety we have counted 
the whole number of Heb. letters in each edition (so 
to speak) of the Decalogue in the original, and find 
them to be as in the subjoined table (including the re- 
markable variation in the reason assigned for observ- 
ing ihe Sabbath, and giving the notation of verses as in 
the English Bible, also the several commandments). 





Exod. XX. 






Deut. V. 




]omm. 


Verse. 


Letters. 


Comm. 


Verse. 


Letters. 




2 


41 




6 


40 


I 


3 


23 


I 


7 


24 


II 


4 


59 


II 


8 


58 




5 


74 




9 


74 




6 


29 




10 


29 


III 


7 


51 


III 


11 


51 


IV 


8 


18 


IV 


12 


34 




9 


24 




13 


24 




10 


74 




14 


108 




11 


87 




15 


87 


V 


12 


53 


V 


16 


78 


VI 


13 


6 


VI 


17 


6 


VII 


14 


6 


VII 


18 


7 


VIII 


15 


6 


VIII 


19 


7 


IX 


16 


15 


IX 


20 


16 


X 


17 


54 


X 


21 


60 



Prom this it appears that the first table (including 
the prefatory verse) would contain 593 (or 608) let- 
ters, and the second only 87 (or 96) letters: which is 
so enormous a disparity as to overthrow this logical 
division altogether, so far as any recognition in the 
original form of the Decalogue is concerned. (Judging 
from the most ancient MSS. and still older inscrip- 
tions, scholars are generally agreed that words were 



THE SACRED PERFUMERY. 



3. As accessories to the sacred apparatus, we may appropriately mention in this 
connection the perfumery used for this purpose exclusively, minute directions for pre- 
paring which are given. This was of two kinds, one a solid, the other a liquid. 

(1.) The incense,* burned as we have seen above, was made of equal parts of four 
kinds of powerful spices, all of them except one being vegetable gums, namely (as is 
probable), storax, f onycha, X galbanum, || and unadulterated frankincense, 1" trit- 



universally written without any spaces between them 
until comparatively recent times.) The only equable 
division (unless extensive gaps or vacant spaces are 
admitted — a very unlikely supposition) would seem 
to be to put the commandments concerning the Sab- 
bath and parents (which are quite as much a civil 
and human as a divine and religious statute) into the 
second table ; thus making one to contain 331 (or 
277) letters, and the other 343 (or 427). By a similar 
equalization the subdivision on the two sides of each 
table would fall, in the first table at the middle of the 
second commandment, leaving three verses for each 
side (123 or 122 words to 144); and in the second 
table at the end of the fourth commandment, giving 
four verses for the first side (203 or 333 words), to 
six (mostly very short) verses for the second side 
(140 or 174 words, the disparity in the last possibly 
indicating a blank at the end. 

We have waded through the special dissertations 
of the following authors on this subject, and received 
but little aid or comfort in archaeological respects : 
V. Sehmuck (De Proxeptorum Decalogi Justa Distri- 
butione, Leipsic, 1606, 4to; — by review of opinions), 
V. W. Wolfrum (De Distributions Decalogi, Witten- 
berg, 1606, 4to;— by logical propositions), S. Bohl 
(De Vera Divisione Decalogi, Rostock, 1637, 4to; — by 
the Heb. accents), C. Walther (De Duahus Tabulis 
Lapideis, Konigsburg, 1679, 4to; — by citations of 
Jewish authorities), J. J. Stromeyer (Harmonia Deca- 
logi, Jena, 1712, 4to ; — by parallel passages), G. F. 
Gernhard (De Differentia Noni et Decimi in Decalogo 
Pracepti, Coburg, 1748, 4to; — by logic and review of 
authorities), J. F. Hirt (Primum Decalogi Prmceptum 
non esse Negativum, Jena, 1755. 4to; — by authority, 
the accents and logic). Nor have we found later dis- 
cussions on the same subject more luminous for 
our purpose. Thelogical and ecclesiastical polemics 
seem to have been the mainspring of inquiry through- 
out. Keil, in his Commentary on the Pentateuch 
(Clark's translation, ii, 108-113), gives a clear and 
judicious review of the discussion, and settles upon a 
distribution substantially agreeing with ours. 

Now a single slab of ordinary marble, of the size 
indicated above (let us say, for convenience of com- 
parison and calculation, 4 feet long by 2 wide), if 
merely one inch thick, would weigh about 118 pounds, 



as we have computed from actually weighing a smaller 
piece. The tables of the law certainly could not 
have been thinner than this, for they would have 
broken by their own weight in transportation ; and 
the stone was probably not of less specific gravity 
than marble. At this minimum estimate, it would 
have been quite impossible for one person to carry 
two such up a steep and lofty hill (as Moses did the 
second pair of tablets), nor could he have clasped 
one of such dimensions under either arm. It is evi- 
dent, therefore, that they were of but half that size, 
and thus intended to fit into the Ark side by side, or 
rather end to end. This will reduce each to a square 
of about 1£ cubits, after deducting sufficient spaoe 
along the sides for inserting the fingers to lift the 
tables when necessary, and will leave a clear centre 
or page for the inscription exactly one cubit square, 
besides a suitable margin. 

Finally, it may be interesting to note that if this 
interior square were covered evenly by the lettering, 
there would be an average room of more than a 
square inch for each letter, or (as most letters are 
more or less narrower than a square) it would accom- 
modate characters about an inch long, and leave an 
ample blank or interval between the lines. We 
may therefore suppose that the words were arranged 
in 10 lines with about 15 to 20 letters to the line; 
distributed probably in paragraphs corresponding to 
the several commandments, and perhaps leaving some 
of the lines short, where the letters in a clause were 
fewer or smaller than the average. 

*Heb. ketoreth has-sammirn, lit. incense of the 
aromas (A. V. "sweet incense"), i. e. perfumed, in 
order to distinguish it from ordinary fumigation. 

■)■ Heb. natdph (A. V. " stacte"), lit. ooze, i. e. distill- 
ing like drops, a resin ; in this case the product of 
the styrax officinale, a small tree of Syria. 

| Heb. shecheleth, lit. a scale (like a finger nail) ; the 
shell of the perfumed mollusk, blaita byzantina, found 
in the Mediterranean, and yielding a musky odor when 
burned. 

I Heb. chelbenah, lit. something/a<, an exudation from 
several Oriental plants. 

T[Heb. lebon.ah, lit. something white; the produce of 
some species of boswellia, grown in Arabia and Judsea. 



60 



STRUCTURE OF THE TABERNACLE. 



urated together to a powder (Exod. xxx, 34-36). Late Jewish writers add to these 
ingredients certain proportions of myrrh, cassia, spikenard, saffron and salt, and also 
state that it was manufactured in quantities of 368 manehs (about 825 pounds) in a 
particular room of the Temple by a family of the Levites delegated for that purpose. 
The incense was burned twice a day (i. e. at the time of morning and evening sacri- 
fice) on the Altar of Incense by three priests (in a later age,as we learn from Talmud- 
ical writers ; but doubtless in a similar manner to the same act performed once a year 
by the high-priest alone upon the Mercy-seat, Lev. xvi, 11, 12), one of whom took 
away the golden fire-pan and ashes of the preceding offering, another brought in a 
fresh pan of live coals from the Great Altar, while the third performed the fuming 
by throwing upon the coals successive pinches of the incense, of which he carried a 
double fistful in the hollow of his left hand. (See the whole process illustrated very 
analogously from the monuments in Wilkinson's Ancient Egyptians, i, 125, Am. ed.) 
The dense mass of smoke, which so highly volatile a substance as the incense was 
would immediately create, was readily carried off by the open gables of the front 
room and the vent at the top of the gable of the rear room. 

(2.) The ointment,* employed in the consecration of the Tabernacle and its priests 
(and eventually in the inauguration of kings also), was composed of spontaneously- 
flowing myrrh and cassia, 500 shekels (about 680 pounds) each, and of cinnamon and 
calamus, half as much each, with one hin (about 4 quarts) of olive oil, carefully com- 
pounded into a paste (Exod. xxx, 23-25). 

IV. The dress of the sacerdotal order, when on duty in the sacred precincts, was 
minutely prescribed (Exod. xxviii);f but as no shoes or sandals are mentioned, it 
may be inferred that the ministrants all went barefoot, notwithstanding the exposure 
in inclement weather ; and this is confirmed by the command of Jehovah to Moses on 
the first interview in this region, to divest himself of foot-covering in the Divine 
Presence (Exod. iii, 5). (See Plate VI.) 

1. The Levites, as being unconsecrated individually, had no canonical robes 
specifically appointed for them ; and therefore wore the dress usual with male Ori- 
entals to the present day. This substantially consists of the following pieces, omitting 
the sandals for the feet, for the reason assigned above. First there is a nether gar- 
ment or shirt, usually without sleeves, loose and flowing nearly to the knees ; in 
general of white linen (now-a-days cotton, often colored), and this is commonly the 
only clothing, when the wearer is at hard work ; but to appear elsewhere in such disha- 
bille was accounted as virtually being naked. (See Fig. 30.) In the case of the Levites 
we may suppose that it was somewhat improved beyond the lowest type, but still it 
doubtless consisted (substantially like the drawers below described, but folded ver- 
tically) of a simple piece of cloth about one yard wide and two yards long, doubled 
at the top (where a slit is made for the neck), and stitched together at the sides, 



* Lit. (Exod. xxx. 25), :l And thou shalt make it an 
oil of anointing of sanctity, a perfuming perfume, the 
work of a perfumer: an oil of anointing of sanctity 
it shall bo." 



f The directions, as usual in the sacred narrative, 
begin with the central object, which is here the in- 
spired ephod; but convenience with us requires the 
opposite order. 



MODERN ORIENTAL DRESS. 61 

except an aperture at their top for the arms, the latter being covered half-way to 
i the elbows by the loose folds at the corners. Tins garment is held close to the 
! body in the middle by a girdle, an essential article of apparel, which served to form 
a pocket in the bosom and for tucking in the ends of the skirts when running, etc. 
(See Fig. 31.) Next comes, with all well-dressed people, an upper garment or 
mantle, frequently (among the poor) consisting only of a simple piece of cloth (linen 
or wool, colored or plain, according to circumstances), thrown loosely around the 
shoulders like a shawl, and hanging down nearly to the feet ; but in more respectable 
society frequently assuming the form of a gown, with sleeves, especially when in public 
with no other garment. Besides these is a turban, or square piece of thin cloth (linen 
in those days of course), folded diagonally, and wound skilfully about the head, the 





Fig. 27. — A Fellah Peasant. 



Fig. 28. — A Bedawin Sheik. 



ends being tucked in (see Fig. 33) ; and lastly, a cloak (Arab, abba) for rough weather, 
consisting of a long, thick woollen shawl, with a hole for the neck, and wrapped close 
about the entire body. On holiday or particular occasions, these would be exchanged 
for new, clean and bright garments of the same kind, or (among the upper classes) for 
other more elaborate ones, accompanied by ornaments, chiefly in the form of jewelry, 
such as anklets, bracelets, etc. ; for even men in the East do not disdain such finery. 
We may presume that the Levites, like other laymen, were decked with something of 
this higher style while ministering (" in the beauty of holiness," lit. in the ornament 
of sanctity, i. e. in festive attire, 1 Chron. xvi. 29 ; 2 Chron. xx, 21 ; Psa. xxix, 2 ; 
xcvi, 9). The annexed drawings, from photographs of modern natives of the Desert 
(Figs. 27, 28), are probably fair representations of the common out-door garb of secu- 
lar Hebrews, of the upper and lower classes respectively, at the period of the Exode. 
2. For all priests, however, a peculiar costume or " uniform " was imperatively 



STRUCTURE OF THE TABERNACLE. 



ordered, while they were officially serving at the Sanctuary, although of course on 
other occasions and elsewhere they wore the ordinary dress of plain citizens. It is 
described in Exod. xxviii, 40-43; xxix, 8, 9, as consisting substantially of four 
articles, in which we may easily recognise the most essential of the above Oriental 
elements of apparel, with one additional ; and those appear to be all that ordinary 
priests were to wear, while the High-priest was to have the same with certain peculi- 
arities and additions. In the case of common priests it served as a distmction from 
laical apparel and also from the Levitical, by being of a more ornamental style (A. Y. 
lit. " for glory and for beauty," the latter word being the same which we have above 
translated " ornament," but here enhanced by a stronger term prefixed as an adj., i. e. 
" an honorary ornament " or official badge). 

(1.) First was a pair of linen drawers * worn for the sake of decency (as is ex- 
stated) ; which, we apprehend, were not in the Occidental form of trowsers, 




Fig. 29 — Modern Oriental Drawers for a Gentleman. 




Modern Oriental Shirt. 



but the nether integument (Arabic libas) of a modern Oriental dragoman or other 
genteel person, consisting merely of a single piece of linen cloth, but thin and of 
natural color, in the case of ordinary priests, about a yard wide and two yards long, 
doubled transversely into a square bag, and stitched together at one side and at the 
bottom ; with the (selvedge) top open so as to be drawn together by a cord around 
the waist, and a hole left in each bottom corner for the legs, being fulled up so as to 
be gathered by a similar cord at the upper part of the calf like a garter. (See Fig. 29.) 
It is loose and cool, and though somewhat clumsy (as the width hangs in folds between 
the legs, and stretches out in walking), yet not ungraceful, presenting a decent 
medium between frock-skirts and pantaloons. Vulgar people, who otherwise go 



* Heb. only in the dual miknesayim, lit. double 
wrappers (A. V. " breeches "), used only of this 
article, which, appears to have been devised for the 
purpose ; for Oriental nomads as well as peasants 
are proverbially sans-cubltes. They reached " from 



the loins and as far as the thighs," which must mean 
that they entirely covered both these parts, i. e. they 
went to the knee and necessarily enough below this 
to fasten securely and comfortably. The legs, like 
the feet, were doubtless bare. 



THE SACERDOTAL GARMENTS. 



63 



entirely naked while at work in the open fields, especially in the sultry climate of 
Egypt, wear, in lieu of this, a simple loin-cloth.* 

(2.) Next came the tunic f either of unbleached linen or of wool, according to 
weather (plain for the ordinary priest), not long (for it was no doubt tucked into the 
drawers, like a shirt), and (it is generally thought) with sleeves (although none are 
alluded to in Scripture, and the statements of Josephus and the Eabbins are too late 
for tin's period), being evidently the common Oriental undress of the present day as. 
above. (See Fig. 30.) 

(3.) At the middle, where these two articles met, and covering their union, was. 
the sash,;): indispensable (as seen above) at the present day in the East ; consisting of 
a broad band of woollen cloth, usually of bright color (here, in the case of an ordinary 
priest, merely variegated, it is most likely), at least two yards long, wound into a. 
girdle about the waist, and tied together in front, the ends hanging down like tassels.. 
(See Fig. 31.) The high-priest's sash was quite different. (See Plate VI, I), iii.) 




Fig. 31.— Modern Oriental Girdle (extended). 

(4.) Surmounting the figure, and completing the sacerdotal apparel, was the cap 
(the material again not prescribed), for which a different term § is employed respect- 
ing ordinary priests from that used in the case of the high-priest. In the absence of 
all distinctive details, we are left to the mere etymological force of the word, aided 
somewhat by the customs of ancient and modern Orientals ; and therefore we 
hazard the conjecture that the common priestly head-covering was simply the skull- 
cap (Arabic arakiyeh), which is now worn by Syrian Mohammedans night and day 
(being frequently changed of course), as they generally shave the head ; whereas the- 



* The description of Oriental dress in Lane's 
Modern Egyptians, i, 39, is minute, but too elaborate 
to suit the Israelites, being largely affected by Turk- 
ish and European associations. The same is true 
likewise of most modern descriptions of the costumes 
of Syria and Asia Minor. The ancient Hebrew dress, 
especially of the period of the Exode, more nearly 
approached the present Bedawin type, which has 
never materially changed. The specimen in Cant, 
v, 11-15, is of course an unusual or wedding suit. 
The extreme simplicity of the principal Oriental gar- 
ments makes them fit almost any person indifferently 
(Judg. xiv, 19; Matt, xxii, 11). 

f Heb. keihoneth, lit. acoverer, A. V. "coat," always 
the garment next to the skin; as in Gen. iii, 21. 
When it reached to the ankles, like a gown, it was 
properly distinguished by the epithet passim (lit. of 



the steps, i. e. feet, A V. l: of many [divers] col- 
ours," Gen. xxxvii, 3 ; 2 Sam. xiii, 18). The male- 
dress of Orientals is much shorter than that of Occi- 
dentals. We must be constantly on our guard 
against copying European fashions in our represent- 
ations of this subject. Facility of motion was. 
the main requisite with the ancients in this matter, 
and even partial nudity was of little account, espe- 
ciall3 T in ordinary avocations. 

J Heb. abnet, lit. a band (A. V. " girdle "), a foreign, 
word, used only of this priestly article, and thence- 
transferred to the girdle of a man of rank (Isa. xxii. 
21). It was therefore not the common belt (Heb. 
chagor, a binder, fem. chagordh. which is the term 
usually rendered " girdle " in the A. V.). 

g Heb. mibgedh, lit. something arched, A. Y. "bon- 



64 



STRUCTURE OF THE TABERNACLE. 



Hebrews appear to have kept their full hair, and to have dispensed with any head- 
dress in ordinary avocations.* (See Fig. 32.) If we are correct, this priestly cap was 
made up to fit the head, and of this we shall find some confirmation when we come 
to consider the high-priest's head-dress. (See Plate VI, D.) 

3. The pontifical regalia we will accordingly discuss in the same order, noting 
first the fact that all the articles above elucidated are present in some form or other 

in the high-priest's attire likewise, 
the drawers, shirt and cap remain- 
ing unchanged, except as to color 
and thickness of fabric. f The 
tunic is now said to be check- 
ered,^: i. e. laid off in regular 
blocks by stripes of threads of 
thicker (double - stranded) and 
bleached linen both in the warp 
and the woof at regular intervals 
among the thinner (single-strand- 
ed) threads of the bleached linen 
foundation (for it was all still 
one color and material), like the 
" plaid muslin " of the present day. The sash was embroidered with needle-work, 
of fancy pattern, we presume, probably uniform, because no figure is mentioned, and 
(if a regular one) it would be distorted by the folds and the knot. The cap is ex- 
changed for (or perhaps, as in the modern East, inclosed in) a regular turban § which, 




Fig. 32 — Modern Oriental Skull-cap. (From a Syrian Specimen.) 



* We presume, however, that when greatly ex- 
posed out-of-doors, they wore something correspond- 
ing to the Bedawin kefiyeh for men, and the vail for 
women: both of which are nothing but a square 
piece of cloth cast over the head and hanging down 
over the shoulders, the men usually fancying gay 
colors, and holding theirs on by a cord around the 
head. (See Fig. 28.) 

f In Exod. xxxix, 27-29, the shirts and caps are 
said to be of bleached linen, and the drawers of 
double-twisted material of the same sort, " for Aaron 
and his sons;" but from the fact that in the same 
list several articles are enumerated which were as- 
signed to the high-priest alone, it would appear that 
the addition "and his sons" there designates only 
the prospective high-priests (as in xxviii, 4). and not 
ordinary priests, for whom accordingly these pieces 
of clothing are elsewhere (xxviii, 40-43) specified as 
being of "linen " simply, i. e. thin unbleached stuff. 

% Heb. in the intensive conjugation, shibbeU, to 
interweave (A. V. " embroider"), which is used only 
here and of the square reticulated setting of a gem 
(Exod, xxviii, 20), besides the derivative noun tash- 
bets (A. V. " broidered "), applied likewise to this 



tunic only (Exod xxviii. 4). The material is explicitly 
represented as to consist wholly of bleached stuff (shesh, 
" fine linen," ver. 39), in distinction from the natural 
color of the unbleached flax (bad, simple " linen," ver. 
42) of the drawers. The art of weaving in " diaper 
pattern," which is a square checker, or in " damask- 
pattern," which is figured, but both without a change 
of material or color, the former being white, and the 
latter crimson, can hardly have been known at this 
early date or employed under the circumstances, as 
it requires an extra or twilled process running diag- 
onally. The crossing of bands or stripes wider than 
one or two of the heavy corded threads of the 
" twined " or double-stranded linen would have made 
an uncomfortable ridge. (See Plate VI, D, i.) 

§ Heb. mitsnepheth, a coiling (A. V. " mitre "), used 
only for this pontifical article, and once (Ezek. xxi, 
26) for the " diadem " of a prince; the simpler form 
tsaniph being employed indiscriminately ("mitre," 
Zech. iii, 5 ; " diadem," Job. xxix, 14 ; Isa. lxii, 3 ; 
"hood," Isa. iii, 23), and the corresponding verb 
teanaph, applied to convolutions (Isa. xxii, 18), as 
well as to this piece of attire (Lev. xvi, 4). We have 
avoided all unnecessary complications. 



THE HIGH-PRIESTS APPAREL. 



63 



although likewise of plain white linen, was thus distinguished from the simpler head- 
dress of the ordinary priest. * (See Fig. 33.) 

A notable addition to this pontifical head-gear was a gold tablet f tied with a 
violet (and therefore woollen) string % (doubtless by passing it through a hole at each 
end) around the head, displaying on the front the engraved motto (in the old Heb. 
characters), Sanctity to Jehovah, i. e. consecrated to his exclusive service. § 

(1.) Proceeding now to the vestments altogether peculiar to the pontiff, as com- 
pared with his subalterns, we have a robe, | which was but another tunic, of simpler 
pattern and without sleeves, being in fact of the form which we have above described 
as that of an ordinary Oriental shirt, the selvedge merely stitched together for sides, 
with openings for the arms, and the hole in the fold at the top bound (like a coat of 



Fig. 33. — Modern Oriental Turban (folded). 

mail, A. Y. " habergeon ") with an edge woven on in making, to prevent its ravelling 
or tearing. ^ It was to be wholly of violet, hence wool both warp and woof. It was 
probably long enough to reach about to the knee. The bottom hem was decorated 
with a fringe consisting of alternate little bells of gold (probably a globe with a ball 
within it, like modern sleigh-bells) and artificial jDomegranates (i. e. globular tassels) 
of woollen threads (tufted, as we presume,) of the three sacred colors, violet, purple 
and crimson (not mixed, we opine, but one of each in regular succession, like the 
bands on the curtains) ; the bells (as is intimated) being designed for giving notice of 



* Josephus's account of the high-priest's dress may 
possibly represent with some degree of accuracy the 
fantastic fashions of his own age. The tiara is es- 
pecially ornamental ; yet it does not wholly disguise 
the simpler form of earlier times as we have eluci- 
dated it. Its triple form is probably due to the 
addition of the diadem by the Asmonreans as princes, 
like the papal crown. 

f Heb. isits, lit. a glitter, i. e. a " plate," or narrow 
thin strip. 

JHeb. petfnl, lit. ivjist, a thread (A. V. "lace "). 

§ As the early Jewish writers are not agreed upon 
the width of this golden plate, nor whether the in- 
scription was in one line or two, we have consulted 
the proprieties of the case, and the good taste of the 
majority of archaeologists, in the matter. Josephus 
states that the pontifical frontlet made by Solomon 
was in existence in his own day (Antiquities of the 
Jews, VIII, iii, 6). In that case it was probablv 
among the spoils of Jerusalem exhibited at the tri- 
umph of Titus, and finally deposited in the temple of 
Teace at Rome (Wars of the Jews, VII, v, 7). Origen. 
however, asserts that it was the original one of Aaron, 
and that it remained till his time; as also that it was 



inscribed with Samaritan characters, by which of 
course he means the antique Hebrew (Winston's note 
on Josephus, Antiquities of the Jevjs, III, vii, 6). 

| Heb. m'eil, lit. an upper (i. e. outer) garment, 
spoken of any such piece of clothing in general use, 
sometimes " mantle " in the A. Y. 

1 The text is very explicit (ver. 31 , 32), lit. : " And 
thou shalt make a robe of the ephod, wholly violet; 
and there shall be a mouth [i. e. hole] of its head 
[i. e. top] in its middle : a lip [i. e. selvedge or woven 
edge] there shall be to its mouth around: the work 
of a weaver, like the mouth of a corslet, there shall 
be to it: it shall not be torn." In other words, it 
was to be a single piece of cloth, with an opening 
for the neck made in the weaving. This could only 
be effected, in the simple loom of those days, by 
parting the threads, both of the warp and the woof, 
around a cylinder inserted for that purpose, and 
holding them in place by double overcast stitches 
crossing each other in opposite directions. It was 
not to be cut, but of course had a hemmed bottom 
(ver 33), and a seam at the side, with a space left 
open as an arm-hole. The seamless " coat " of later 
times (John xix, 23) was a tunic. 



STRUCTURE OF THE TABERNACLE. 



the functionary's approach (so that no impure person or thing might ineet him, and 
thus, however inadvertently or unconsciously to him, expose him to divine visitation 
for entering upon his duties in that condition), and 
the woollen balls to afford variety. As their num- 
ber is not given, we may conjecturally hang them 
(by a golden wire or yellow silk cord) \ of a cubit 
apart, making perhaps 12 bells and as many tassels, 
four of each color.* (See Plate VI, D, ii.) 

(2.) Immediately over this article of dress, 
(hence called " the robe of the ephod ") was placed 
the principal token of the high-priest's rank, called 
i l|V»iNir>V\ tne e l>hod (its Heb. name, signifying a girdle, but. 

*-4K-ot?Y\\\\ not the common word for that piece of apparel); 

which was made of the same stuff as the Vail, 
tricolor woollen bands on a white double-stranded 
linen ground, embroidered with figures (we pre- 
sume vine-form tracery) in gold (thin plates cut 
into narrow strips and used as thread, Exod. xxxix, 
13). It consisted of two shoulder-pieces, f sewed 
together by the raw edges in a seam ; % hence each 
about 1 cubit wide by 1£ long, hanging by the neck 
(where a hole of course was made and bound), one 
over the bosom, and the other over the back, down 
to the waist (very much like the chasuble of a Roman 
Catholic priest). These were fastened (doubtless at the bottom) by a belting-strap § 
(one of course on each side), made of the same materials as the ephod itself (the 
ends tied together in a bow-knot at the hip). At the top seam, in the middle (as 
we presume) of the shoulder slope, were (sewed on) two studs (one on each side), con- 
sisting each of onyx, || large enough (perhaps -^ of a cubit square) to contain the 




Fig. 34.— Ancient Egyptian Chief-priest 
(with apron-like drawers, leopard -skin 
ephod, tankard for libation, and censer). 



*The Rabbinical statements concerning the 72 
bells on the high-priest's robe, and that it was woven 
seamless (Edersheim, The Temple and its Services, 
pp. 72, 73), relate to customs introduced at a later age 
than that of which we treat. It does not follow 
from the allusions in Rev. i, 13 : xv, 6, that the pon- 
tifical girdle was but a little below the arm-pit^, for 
in that case the bottom of the breastplate could not 
have been fastened to it ; any more than that the 
robe reached to the feet, as it clearly did not (ibid, 
p. 72). These last two features, in the case of an 
active functionary, would have been effeminate, dis- 
proportioned and inconvenient. They are borrowed 
from the description of Josephus {Antiquities of the 
Jews, III, vii, 2), but are not countenanced by the 
language of the sacred text, as belonging to the 
original attire of the high-priest. 



■(■Heb. sing, katheph, lit. a lateral projection, desig- 
nating the top or ridge of the shoulder, in distinction 
from the back part or shoulder-blade, for which a 
different word is employed. 

% The Heb. terms are the same as those which we- 
have shown, in discussing the Tabernacle curtains, 
to be carefully used in these senses. The ephod was. 
not a single piece, like the robe over which it was 
worn, but made to be joined together at the top (the 
open sides were of course the straight selvedge), be- 
cause that part had to be nicely fitted to the slope of' 
the shoulders, as it was to sustain several appendages. 

§ Heb. chesed appudatho, lit. "strap of its belting," 
the latter term being from the same root as ephod. 

|| Heb. shoham, of obscure derivation, and designat- 
ing some kind of gem. but certainly not the diamond, 
for that cannot be engraved, and is too small and 



THE BREASTPLATE. 



engraved letters of 6 of the names of the twelve sons of Israel (beginning probably 
with that on the right shoulder, and arranged, we may suppose, from analogy of the 
loaves of show-bread, in a single column). * The stone was set in a reticulated gold 
plate f (sewed by the interstices on 
the garment), to which was attached 
a twisted gold chain (lit. links . . . 
wreathed . . . cords, A. V. " chains 
... at the ends . . . wreathen "), for 
fastening it to the pectoral, as present- 
ly explained. (See Plate VI, D, iv.) 

(3.) This last named, which w 
the crowning glory of the high- 
priest's regalia, and the most sacred 
talisman of his office, is styled a 
spangle (from its sparkling gold and 
flasliing gems)4 and was substantially 
a bag of the same materials as the 
epbod itself, one span (or half a cubit, 
i. e. about 10 inches) square, when 
folded (at the bottom, and sewed to- 
gether at the sides) ; the face (or outer 
layer) having on it (apparently 
stitched on like studs, at regular in- 
tervals, but probably very close to- 
gether, so as to bend to fit the person) gold plates (doubtless of the same general style 
as those on the shoulders), in which were set precious stones, in four rows, engraved 
respectively with the names of the twelve tribes of Israel.§ The entire " breastplate" 




Ephod (extended). 



costly. It was the same as the eleventh stone in 
the breastplate. 

* The longest of these names (we suppose them 
here to be set down in the actual order of birth, 
namely, Reuben, Simeon, Levi, Judah, Dan, Naphtali, 
Gad, Issachar, Asher, Zebulon, Joseph, Benjamin), 
is in the Heb. Benjamin, which has 6 letters (show- 
ing that our arrangement would produce a square); 
and if the names were displayed separately (not run 
together, as often in old MSS. and inscriptions), our 
estimate would allow each letter a space of Jg- of a 
cubit (about i of an inch, which is considerably larger 
than '-great primer," the largest type used in modern 
book-printing). (See Plate VI, D, vi). 

f Heb. mishbetselh, a texture by embroidery (Psa. 
xlv, 13, " wrought "), hence a netted socket for a 
gem ("ouch"}. The Heb. term here used for the 
mode of insertion musabboth (A. V. "set in," "in- 
closed in "), although originally the fern. plur. of a 
pass, participle meaning turned about, is constantly 



used as a noun, in the sense of reversal, and therefore 
always stands before the word which it qualifies (in the 
construct), and not after it (as an adjective would). 
Accordingly we must here render, " Reverses of net- 
tings of gold shalt thou make them; and in xxxix, 
6, "reverses of nettings of gold," and in xxxix, 13, 
"reverses of nettings of gold in their bezels." In 
like manner, at Ezek. xli, 24 (A. V., "two turning 
leaves"), we must render "two folds of leaves;" 
and in the sole remaining occurrence of the word 
(Num. xxxii, 38, A. V., " their names being changed "), 
no other rendering is grammatically possible than 
parenthetically " transmutations of names." 

\ Heb. choshen, lit. (it would seem, for the root is 
found in no other word) a glistening (A. V. "breast- 
plate"), used only of this particular ornament; often 
with the additional epithet, "of judgment," because 
oracular decisions were obtained by its means. 

§ In this case we presume the names were in the 
conventional order of encampment (in which the 



68 



STRUCTURE OF THE TABERNACLE. 



was held upon the ephod by fastenings that are minutely and somewhat intricately 
described.* "We epitomize by saying that the pectoral had a gold ring in each of 



same division of 4x3 occurs), as in the annexed dia- 
gram, doubtless three columns of four names each, 



room for letters much larger than those on the 
shoulder-studs. The modern equivalents of few if 



3. Zebulon 


2. Issaehar 


1. Judah 


6. Gad 


5. Simeon 


4. Eeuben 


9. Benjamin 


8. Manas>eh 


7. Ephraim 


12. Naphtali 


11. Asher 


10. Dan 



as symmetry of space requires, and as a " row " in any of the gems are known with certainty (compare 
reading would mean (but not elsewhere). As there the similar list in Rev. xxi, 19, 20). The following 
was but one name on each stone, there would be I table identities them as nearly as may be: 



Row. Order. 


A. V. RENDERING. 


IIeb. name. 


Mod. name. 


Pros, color. 


( 1. 






carnelinn 


light rod. 


I. \ 2. 






bright yellow, 
grass green. 


{ 3. 


" Carbuncle" 












II. \ 5. 








deep blue. 


I 6 
















111. < 8. 


" Awte" 










" Amethyst " 






purplish. 




tarshish 




IV. \ 11 




beryl .... 


pale srri'en. 
clouded gray. 


1 1* 


" Jasper" 


yashepheh 


jasper 



* In this passage (Bxod. xxviii, 22-28) it will be ob- 
served by the critical reader, that we have three 
terms carefully applied to the different aspects of a 
piece of cloth, precisely in accordance with the sig- 
nification that we have previously pointed out ; 
although they are confused in the A. V. : eber is the 
surface (as of the tables of the Law), saphdh is the 
free selvedge, and katsdh is a hemmed (or at least 
seamed) end. The other expressions in this descrip- 
tion are also as before explained. For the sake of 
clearness we literally translate the whole of the 
last paragraph, with explanatory interpolations in 
brackets. 

Ver. 22. " And thou shalt make upon the breastplate 
wreathed chains [i. e. links twisted or bent so as to 
lie all flat], the work of cords [i. e. links of round 
wire], pure gold." 

Ver. 23. " And thou shalt make upon the breast- 
plate two rings of gold ; and thou shalt put the two 
rings upon the two ends [katsdh (i. e. upper or hemmed 
edge) ] of the breastplate." 

Ver. 24. " And thou shalt put the two cords [i. e. 



chains] of gold upon the two rings towards the ends 
[katsdh] of the breastplate." 

Ver. 25. " And the two [other] ends [katsdh (i. e. 
the end-links destitute of a hook) ] of the two cords 
[i. e. gold chains (namely, those previously mentioned, 
ver. 14)] thou shalt put upon the two iutertextures 
[i. e. reticulated settings], and [thus] thou shalt put 
[them] upon the shoulders [i. e. sides] of the ephod, 
towards the front of its face [(the same expression 
as used concerning the gable overlap of the roof- 
canvas), i. e. across its very face]." 

Ver. 26. "And thou shalt make two [other] rings 
of gold, and thou shalt put them upon the two ends 
[katsdh (i. e. lower, but still seamed edges, because 
the two selvedges are there sewed together)] of the 
breastplate, upon its selvedges [saphdh, i. e. still 
such, although double], which [are] towards the 
surface [eber] of ihe ephod inward [i. e. lie close upon 
the ephod beneath, and never rise from it, as do the 
upper corners, when the mouth of the sack is 
opened]." 

Ver. 21. "And thou shalt [also] make two [corre- 



URIM AND THUMMIM. 



69 



its four corners ; the two at the top were joined to the ephod by a continuation of the 
twisted chains already attached to the shoulder-studs (the hook being apparently [as 
usual in such cases] on the end of the upper chain for entering any convenient link 
in the lower chain) ; the bottom rings were tied by a violet cord to rings inserted in 
the ephod at the point where the straps branched off. These four fastenings (the 
upper ones stronger, as bearing the weight) would stretch diagonally and keep the 
pectoral extended and yet closed, at the middle of the breast. (See Plate VI, D, v.) 
(4.) Finally, the sacred pocket thus suspended over the very heart of the high- 
priest, where it would be inviolably safe, and at the same time accessible at a moment's 




Fig. 



-Tui.tr.l Chain. 



notice, was designed — in a manner analogous (as we shall presently see more fully) to 
the inmost Ark of the Sanctuary — as a place of deposit for the most priceless boon of 
God to his fallen, erring children, a mode of ascertaining his will. The physical in- 
strument of this form of divine communication was the famous Urirn and Thummim, 
Hebrew terms that have greatly vexed the learning and ingenuity of interpreters, with 
less satisfactory results, perhaps, than any other part of the whole Tabernacle appa- 
ratus.* Without entering in detail into the hopeless discussion on this mysterious sub- 



sponding] rings of gold, and thou shalt put them upon 
the two shoulders [i. e. sides] of the ephod, from as to 
downward [i. e. near the bottom], from the frontof its 
face [i. e. on its very face], to the conjunctions of [i. e. 
opposite] its joining [by stitches to the strap], from 
above as to [i. e. near the top of] the strap of the 
ephod." 

Ver. 28. " And they [i. e. the makers or weavers] 
shall tie the breastplate from [i. e. by] its [lower] 
rings towards [i. e. to] the rings of the ephod with a 
thread of violet [wool], [so as] to be upon the strap 
of the ephod: and the breastplate shall not be shoved 
from upon the ephod." 

*The following is a condensed summary of all the 
positive information that philology and Scripture 
afford on this difficult but interesting topic; and 
neither Josephus nor the Rabbins seem to have had 
access to anything further, while the conjectures of 
modern writers are mostly worse than worthless. 

The words " the Urim and the Thummim " are 
not proper names, the former being simply the plural 
of dr, which is occasionally used in the sing, for light 
(as is its congener or constantly) in the sense of flame 
(Isa. xxxi, 9; xliv, 16. xlvii, 14; 1, 11; Ezek. v, 2; for 



it is merely the infinitive of the common verb mean- 
ing to shine), and for Ur, the birthplace of Abraham ; 
while the plural (besides the distinctive use here con- 
sidered, occurring singly in Num. xxvii, 21; 1 Sam. 
xxviii, 6; and elsewhere in the compound phrase, 
Exod. xxviii, 30 ; Lev. viii, 8 ; Deut. xxxiii, 8 : Ezra 
ii, 63 : Neh. vii, 65) is used for the region of lights, 
i. e. the East (Isa. xxiv, 15, A. V. "fires"). "Thum- 
mim " likewise is only the plur. form of torn (which is 
itself but a participial noun from the verb tamdm, 
frequently used to denote completeness or sincerity), 
meaning perfection, and usually rendered (in the sing.) 
" integrity " (Gen. xx, 5, 6 ; 1 Kings, ix, 4 ; Psa. vi 
xxv, 21; xxvi, 1, 11; xli, 12; lxxviii, 72; Prov. 
xix, 1; xx, 7), "uprightness," "upright," or "up. 
rightly " (Job. iv. 6; Prov. ii, 7 ; x, 9, 29; xiii, 6 
xxviii, 6), " perfect " or " perfection " (Psa. ci, 2 ; Isa 
xlvii, 9), "simplicity " (2 Sam. xv, 11), " full " (Job 
xxi, 23), '' at a venture " (1 Kings xxii, 34 ; 2 Chron 
xviii, 33), but in the plur. only in connection with 
Urim (as above). The plural form of both words 
does not necessarily imply that there were many of 
each kind of object, nor even that the two were dis- 
tinct articles ; but rather according to a frequent Heb. 



70 



STRUCTURE OF THE TABERNACLE. 



ject, we may safely say, in brief, that these terms designate some means of oracular 
response, on questions of public importance, by Jehovah through the high-priest. 
The manner in which they are introduced (" the Urim and the Thummim," like " the 
Cherubim," on their first mention), yet without any explanation, shows that they 
were well known already to the Israelites ; and this adds force to the presumption, 
confirmed by an inspection of the monuments, that they were the originals of which 
the symbolical images known to Egyptologists as those of the double goddess of Truth 
and Justice,* and probably also the idolatrous Teraphim of the early Mesopotamians 
and later Syrians, were the counterfeits.f However that may be, we find this mode 
of divination, if so we may respectfully designate it, in use among the Hebrews from 
this time forward, as it appears to have been in the patriarchal days (Gen. xxv, 22, 23), 
down to a late period of the Jewish commonwealth, when it suddenly and silently 
disappears altogether from history ; doubtless because superseded by the clearer and 
fuller Lights and Perfections of personally inspired prophets, whose oral deliver- 
ances, afterwards compiled by themselves in permanent documents, have survived the 
vicissitudes of transcription and denationalization, and still guide and cheer the saints 
on their march to the heavenly home. 



idiom, these peculiarities of the phrase express as fol- 
lows : the plur., emphasis or quantity ; and the duplica- 
tion, attribution or quality ; so that a free translation 
would be full light as to amount and perfect as to kind, 
i. e. complete illumination ; in modern terminology, a 
definite oracle, in distinction from the vague and am- 
biguous intimations from other sources, whether 
heathen shrines, providential auguries, or even in- 
spired vaticinations, such as had been the only re- 
source of previous ages and other nations. 

As to the actual application of this instrumentality 
for predicting events, we find various significant facts. 
The object in question was small, light and non-fragile 
(so as to be easily carried in the pouch of the breast- 
plate). It (or its equivalent) was duplicated freely 
in the pontifical family (1 Sam. xxii, 18), but the act- 
ing high-priest alone had the prerogative of consulting 
it (1 Sam xxiii, 2, 4, 6), and the secret of using it 
was at length lost even to the hierarchy (Ezra ii, 63). 
The questions put by its means were categorical, and 
the answers were equally explicit, although not 
always a simple affirmative or negative (1 Sam. xxiii, 
9-12; 2 Sam. v, 23, 24); and sometimes refused 
altogether (1 Sara, xxviii, 6). All this implies a material 
apparatus, a public consultation, and a palpable re- 
ply, either by visible or audible signs ; and excludes 
all theories of priestcraft, fortune-telling or legerde- 
main, making the whole a bona-fide supernatural in- 
dication of what no mortal could of himself discover 
or predict. Beyond this everything concerning it is 
uncertain, and the speculations of scholars are 
scarcely worth recounting. 



*See Wilkinson, Anc. Egyptians, ii, 27; v. 28 
large edition. 

f We hazard the opinion that this species of augury 
was by means of an image (probably of clay rudely 
modelled) representing truth as the essential attribute 
of deity. It was worn in the bosom, which is the Ori- 
ental pocket, so as to bo always at hand and familiar. 
Like the cherubim, its purely ideal character relieved it 
of the charge of idolatry. The only clue to its mode of 
manipulation for otaining an oracular response is 
afforded by 1 Sam. xiv, 19 (for the ephod and not the 
ark must be there referred to ; comp. ver. 3, and see 
Keil on the passage), where the expression "with- 
draw [literally " gather up "] thy hand " shows that it 
was held in the open hand during consultation. It does 
not seem, however, to have been absolutely necessary 
in the process at all, for on several occasions no men- 
tion of it whatever is made (1 Sam. xxiii, 2, 4 ; 2 Sam. 
v. 19, 23; xxi, 1), and in one instance at least it was 
impliedly absent, the priestly vestment itself being only 
an ordinary one of simple linen, such as appears to have 
been worn by the whole lineage of the high-priest (1 
Sam. xxiii, 6; comp. xxii, 18). This lends color to the 
suspicion that the response was not given by any pecul- 
iarity of the object in question itself; but was merely di- 
vined through some professional skill acquired by (per- 
haps rather was a specially inspired intimation vouch- 
safed to) the officiator (comp. John xi, 51). Finally, 
inasmuch as in several of the above cases even the 
priestly intervention is not positively stated, it may be 
tiiat the king or any other public functionary was 
qualified to ascertain the divine will by this means. 



CHAPTER V. 



SYMBOLISM OF THE TABERNACLE. 



We approach this enticing branch of our treatise with much caution, and only- 
after we have prepared the way for it by a careful analysis of the facts and elements 
upon which a figurative application of the whole or any of its correlated parts should 
rest. We are moreover warned, by the extravagant and unseemly mystifications of 
most predecessors in this attempt, how liable a fertile fancy is to mislead even a well- 
stored head and a well-disposed heart in a field where so little is fixed by determi- 
native bounds, whether historical, logical, philosophical or artistic* The only safe 



* Much that has been given by former writers as 
symbol on this subject is merely metaphor or figure of 
speech instead of representation by object. The sym- 
bolism of the Tabernacle, as developed briefly by 
Josephus and Philo, is purely cosmical; and in this 
they are followed more at length by Bahr. The 
jejuneness and frigidity of such an exposition are 
sufficiently obvious. Later expositors have usually 
vibrated between this and the merely clerical idea of 
the Tabernacle symbolism, or else they have gone off 
on some tangential line suggested by their own subject- 
ive proclivities. Such whims can neither be proved 
nor disproved; the competent objection to them is 
their inadequacy and their triviality. They mistake 
accidental and partial coincidence for designed and 
sustained correspondence. Scriptural typology must 
be deduced by rigid exegesis and a broad view of the 
divine economy, especially in its soteriological rela- 
tions. This is the core of revelation. The legitimate 
tests of the symbolism of the Tabernacle, as of that of 
any Jewish or Christian institution, are natural eongru- 
ity, spiritual suggestiveness, and biblical sanction. It 
is not enough to cover the requirements of a per- 
functory ritualism, a stolid ecclesiasticism, or a con- 
ventional nationalism, much less to satisfy the most 
obvious demands of an outward naturalism ; the deep 
value of a universal, sempiternal and soul-saving im- 
port must be reached. The Tabernacle was the vis- 
ible hearth-stone of the invisible Church, then first 
laid in a fixed though still (as ever on earth) migratory 
habitation; it was the type of that "house of God" 
which was designed to embrace the globe, to be the 
germ of heaven, and yet to domicile in the humblest 
heart. Its archetype, modelled in the conclave of 



the eternal Trinity, and for a brief season disclosed to 
Moses, still remains in the celestial sphere, to be un- 
vailed at length to the full satisfaction of all the 
saints. There we shall forever admire the perfection 
of the symbol. 

We here rehearse, somewhat in detail, a few of the 
most plausible of these schemes of symbolism, in order 
that the reader may see for himself how arbitrary, in- 
coherent and futile they really are. The oldest ex- 
positions of this branch of our subject are by the two 
learned Jews so often alluded to already by us. As 
interpreted by Flavius Josephus {Antiquities, III, vii, 
7), the holy of holies represents heaven, the holy place 
and the outer court the sea and the land; the twelve 
loaves on the table of show-bread denote the months 
of the year; the seventy parts of the candelabrum are 
the divisions of the planets, and the seven burners 
the planets themselves; the four components of the 
vail signify the natural elemeuts, the linen being the 
earth, the purple the sea, the blue the air, and the 
scarlet the fire ; the pomegranates on the high-priest's 
robe mean lightning, and the bells thunder (!) ; the 
breastplate is the earth, because central in the uni- 
verse ; the girdle is the ocean, because encircling the 
world ; the shoulder studs are the sun and the moon ; 
the twelve gems are the signs of the zodiac. The no- 
tions of Philo Judaeus (Life of Moses, iii, 4-15) are 
very similar, but more elaborate and sometimes intri- 
cate or even confused and erroneous: the five front 
pillars are the number of the external senses, and the 
gold [inside] is the mind itself; the numbers 4 and 28 
of the colored curtains are perfect parts of the 
decade (?), and 40, as a prolific number (?), symbolizes 
man as fashioned in the workmanship of nature ; the 



72 



SYMBOLISM OF THE TABERNACLE. 



guide, in our judgment, is direct Scriptural warrant for the aesthetic analogies and 
spiritual adumbrations which this elaborate and (for the times) elegant structure must 



materials of the curtains represent the elements, linen 
coming from the earth, purple from the water, hya- 
cinth being the color of the air, and scarlet that of 
fire ; the ark is an emblem of the merciful power of 
God, the two cherubim representing respectively his 
kingly and his creative character; the altar of incense 
is a symbol of gratitude (without which even the 
sacrifices on the outer altar are unavailing — a beauti- 
ful idea) ; the candelabrum is placed on the south side 
like the celestial luminaries, and the lamps are the 
seven planets ; the table of show- bread, on the north 
side, like the most productive winds from that quar- 
ter (?), represents the fruits of the earth ; the four- 
lettered name on the high-priest's frontlet conveys 
various meanings depending upon that number; and 
so on at a considerable length. The early Church 
fathers largely adopted the same cosmical explanation 
of the Tabernacle. Among mediaeval writers, when 
orthodox and even pietistic, the symbolism of the 
subject is exceedingly vague. The venerable B?de, 
in his treatise Be Tabernaculo, etc. (inserted at the end 
of his commentary on the Pentateuch, in Migne's 
Patrologia Latina, xci, 394-498), makes every thing 
emblematical of Christ, his Church and his saints: 
the Ark is his Incarnation, its wood a type of his im- 
maculate body, its length of his patience, its breadth 
of his charity, its height of the future glorification, 
the whole cubit being that of himself, and the half 
that of his followers, etc. (i, 4); the cherubim are a 
name for the angelic virtues, their wings denoting the 
velocity of the resurrection body, stretching in pro- 
tection over the mercy-seat, their number correspond- 
ing to the two Testaments, etc. (i, 5) ; the curtains of 
different colors represent the various gifts of the 
Spirit, the white linen corresponding to the beauty of 
justification, the blue to the celestial temper of the 
saints, the purple to the blood of entire devotion, and 
the scarlet to the fire of perfect love, etc. (ii, 2); and 
so on through a prolix series of mystical interpreta- 
tions, generally fortified by fanciful quotations from 
the Latin Vulgate. Herman Witsius devoted a learned 
and acute treatise {Be TabernacuU Levitici Mysteriis, in 
Vol. I of his Miscellanea Sacra, Leyden, 1736, pp. 318— 
363) to the consideration of the structure and import 
of the Tabernacle, but lie has advanced little on the 
latter point beyond the obvious practical and religious 
lessons of the subject, and the general Messianic bear- 
ing of the component parts of the edifice and its ap- 
purtenances, expressly declining (§ ii ) to enter further 
into the symbolism. Bahr (in his Symbolik des Mas. 



Culius, noticed in chap, ii above) discusses at large 
the cosmical significance of the numbers that enter 
into the dimensions and divisions of the building, and 
briefly the ethical and liturgical relations of the vari- 
ous elements and pieces of apparatus; but he very 
scantily shows their harmonious adaptation to each 
other in a moral point of view, and he scarcely alludes 
to their interior Christian significance. (In his later 
work on the Temple he retracted much of this cos- 
mical idea, and made the Tabernacle the centre of the 
national scheme of Judaism.) The volume of Fried- 
erich (Symbolik der Mos. Stiftshiitte, likewise noticed 
above) goes to the other extreme, and in the effort to 
apply the similitude to the human body as a residence 
of the divine Spirit, runs into disgusting particulars. 
One of the most recent works that venture in detail 
into this part of the field (Atwater's, noticed in chap, 
ii above), while justly criticising (pp. 156-161) the 
excessive Christology of one of the early Protestant 
discussions of the Tabernacle in its minutias (J. 
Lund, Mdische Beiligthiimer, ed. by his son, Ham- 
burg, 1695, 8vo; and later), and afterwards consuir* 
ing five chapters in a general survey of the symbol- 
ism of numbers, forms, colors, substances and 
animals, chiefly in heathen usages (which are little to 
the point here), yet at last itself, beyond some of the 
most obvious needs and bearings of the edifice, its 
furniture and its vestments, points out only certain 
sporadic and superficial resemblances and analogies, 
some of which are based upon merely metaphorical 
expressions, while others, however ingenious, are of 
doubtful pertinence or authority: for example, to 
take the specifications first in order (p. 270 and 
following), under the heads of form and number; 
that the Outer Court symbolizes the Old Covenant, 
the Holy Place the New Covenant, and the Most 
Holy the beatified state, the last alone being a per- 
fect cube ; that the 48 planks of the walls are an 
emblem of the product of the 12 tribes or apostles 
and " that number [4] which stands for the kingdom 
of God"[?], whereas "the dimensions of the cur- 
tains were not significant " (the next illustrations [p. 
280-285], as we have shown, are based upon an 
erroneous or defective interpretation) ; and so through 
the subsequent heads. The very latest publication 
on the subject (Randall's, noticed above in chap, ii), 
after reviewing at some length the conflicting views 
of writers on the symbolism especially of the cher- 
ubim (ch. xxv, xxvi), adopts (p. 324) the explanation, 
that they " are to be regarded as symbols ot the 



THE DIVINE ABODE. 



73 



have been intended to body forth ; and this exposition of the true aim and inner 
moral of such a picture-lesson to the comparatively infantile mind of the Israelites 
must be sought either in the explicit statements of the sacred text (whether of the Old 
or the JSew Testament), or else in the inferences naturally growing out of them, and 
requisite in order to maintain their coherence and symmetry. We therefore propose, 
not summarily to reject, nor yet polemically to dissect the occult and often micro- 
scopic resemblances which most writers on the subject have debated or fancied in 
these gorgeous emblems, ranging through earth, air, sea and sky ; but to compare, 
combine and deduce, almost cle novo, what strikes us as a self-disclosed and tangible 
system of religious truth modelled into the coincidences and varieties of this remark- 
able piece of handicraft. We shall find that its doctrine, no less than its composition, 
is organic and harmonic, especially in its most peculiar features. 

In a general way, we may remark, as a preliminary thought, that the Taber- 
nacle, as a whole, being in fact but a tent, is occasionally referred to in Scripture as a 
type of a transient sojourn. Such it was among the nomadic Israelites in the Desert, 
while on their journey to Canaan, which was a symbol of the passage of saints through 
the stage of mortal probation to their heavenly home ; and such it was to Jehovah, 
prior to his more permanent residence in the stone structure of the Temple on the 
permanent site of Jerusalem. In a more special sense it may perhaps have prefigured 
the occupancy of a human body by the Messiah during his stay on earth (John i, 14, 
render " tabernacled " instead of " dwelt ; " and compare Peter's language, Matt. 
xvii, 4) ; and it is an apt figure of the frail abode of every one of his followers on 
earth (2 Pet. i, 13, 14). 

I. The first thing that occurs at the very threshold of our attempts at recon- 



glorious qualities or attributes of the Saviour in 
carrying on the great work of our redemption, and of 
the attributes or qualities [which] his ransomed peo- 
ple will share with him in the glory of his heavenly 
kingdom." This compound statement he professes to 
derive from At water, whose language, however, is 
more simple (p. 262), that they "represented human- 
ity raised from its death in Adam to fulness of life 
in Christ: " — a lame and impotent conclusion, as it 
seems to us, for the mystical import of a pure ideal- 
ism so centrally enthroned in the penetralia of the 
saered building ; and all deduced from the bare use 
of the term " living creatures " applied to these 
impersonations in Ezekiel and the Revelation. 
Think of Jesus and his saints finally embodied in these 
weird forms ! Among recent commentators of note, 
Zalisch (On Exodus, p. 491-499) rehearses and criti- 
cises very fairly the various schemes of symbolism, 
ancient and modern, especially that of Bahr, and him- 
self proposes (p. 494) a few points on the principal 
features of the Tabernacle which might apply with 
nearly equal propriety to any ethnic system contain- 
ing the same elements. Keil (On the Pentateuch, ii, 



182-185, Clark's translation) gives in the main a sen- 
sible scheme, but very general and defective on sev- 
eral items: the building embodies the kingdom of 
God, as then confined within time and space; facing 
the four points of the compass, its quadrangular form 
was a type of the world as the scene of divine revela- 
tion, the square, and especially the cube, being reserved 
for the most interior perfection ; the gold denoted 
god-like splendor, the silver moral purity, the white 
('• invariably named first [?] among the colors ") repre- 
sented holiness, the hyacinth heavenly origin and 
character, the purple royal glory, the crimson imper- 
ishable life, and the cherubim the kingdom of glory (!). 
Very much in like style are the schemes of Lange 
(On Exod., p. 113-128. Schaffs ed.), briefly the Bible 
Commentary (i, 357-393, Am. ed.), more copiously 
the Pulpit Commentary (Exod. vol. ii). The great 
fault of even the best of these schemes is their in- 
definiteness and lack of application to particulars, as 
well as their leaning too exclusively upon later adap- 
tations (rather than interpretations) of similar emblems 
in the N.-T. writings, thus arriving at a superficial 
explanation. 



74 SYMBOLISM OF THE TABERNACLE. 

struction or survey is the principle of thorough proportion that reigns throughout the 
mechanical execution of the Tabernacle, extending to the smallest and most secret 
parts.* This appears on the face of the plan and its accompaniments in the numbers 
and sizes given by the architects. We will take these in their arithmetical order, 
gradually contracting to the central identity. They all have a natural, rather than a 
metaphysical basis. 

1. The simplest and earliest, as well as the most scientific and perfect mode of 
enumeration is the decimal one, which in modern metrology threatens to supersede all 
others in exact or even popular specification. The ten fingers evidently suggested 
the digits (their namesake), and men spontaneously count by their means. In the 
Tabernacle all the ground-plans and elevations proceed by tens (or a multiple or in- 
tegral part of ten) ; and wherever this is practicable, it is maintained in the subdivis- 
ions of space and material. This is too obvious to need illustration. 

The practical lesson from this basal distribution seems to us to be, that the entire 
edifice, with its court, its rooms, its walls, its pillars, its curtains and its fastenings, 
was meant to be a thing of convenience as well as of regularity ; and that its economy, 
both in construction and in use, was to be a mathematical teacher to the unschooled 
but acute genius of the chosen people. Even to our own day, the lesson, that "order 
is heaven's first law," and that the most perfect conventional exponent in numerical 
proportion is essential for the purpose of expressing and maintaining this order, is by 
no means superfluous ; indeed it is growmgly appreciated and inculcated. 

It is true, the duodecimal system, as in the multiplication table, is occasionally 
employed in the Tabernacle, suggested perhaps at first by the months of the year 
(although this is not strictly true of the Jewish calendar, and is itself but an artificial 
basis for calculation), and in the present case emphasized by the number of the sons 
and tribes of Israel ; but this is carried no further than those few particulars that di- 
rectly memorialize the ancestral and territorial sections of the nation, and have no 
essential root in the great features of the Tabernacle and its cultus. 

2. The next primary f number, namely, the septenary, that runs throughout the 
dimensions, but less conspicuously, was obviously drawn from the days of the week, an 
Edenic distribution, for reasons which the most exact experience of modern times has 



* Proportion is the grand principle that combines 
unity with variety, holding the universe together, 
and rendering man a miniature of Deity. It is the 
harmony of the spheres and the symmetry of the 
atom. It is the algebra of beauty and the mechanics 
of morals. It is the prime quality of object-teaching, 
from the horn-book to the calculus ; and very prop- 
erly does it stand prominent in the frontispiece of 
the picture-lessons of the Tabernacle. It is the 
ground idea of the whole structure. For the Archi- 
tect of Nature works always by rule, and the pro- 
ducts of his recreation are destined eventually to 
exhibit, no less perfection. They are to be copies on 
a smaller scale of his infinite proportions. 



\ We observe here incidentally but significantly, 
that the three primary (and in Heb. nomenclature 
the " sacred ") numbers 1, 3 and 1, which (like the 
prismatic colors, blue, red and yellow,) make up the 
others, are all odd, and hence indivisible without 
fractions. The first two yield by addition the round 
10, the second by successive self-multiplications that 
most peculiar of all squares 9 (the magic sum of all 
the other digits ranged around the central 5, and the 
instant dissolvent of all other products), while the 
unit, perfect in itself, neither increases nor diminishes 
the others by proportion. The complicated relations 
of involution and evolution of course are foreign to so 
primitive an arithmetic. 



NUMERICAL SIGNIFICANCE. 75 

vindicated as necessary for the human economy, both in the individual and in society. 
It comes in most opportunely to resolve the singular variation in the length of the in- 
side curtains as compared with the roof-canvas (7x4= 28), and especially as a basis 
of the two factors 4 and 3, which enter so largely into the other dimensions ; and may 
have been intended to serve as a reminder of the Sabbath as well as of the sacredness 
of an oath (Heb. a sevening). 

3. The quadruple distribution, as just observed, prevails in the square hori- 
zontal forms generally adopted in the Tabernacle, as well as in many of the 
upright ones (the number of the door-way posts for example, and the rings at the 
corners of the pieces of furniture) ; and has its own distinctive lesson (as we will 
presently see). 

4. The triple arrangement, as the remainder of seven, has a very marked position 
as a factor in the Tabernacle economy (as already noticed), and although we think the 
allusion to the persons of the Deity here as premature as would be a reference to the 
mathematical proportions of the triangle, yet the tripartite division of the terrestrial 
universe (earth, air and sky ; or more accurately land, sea and atmosphere), as well as 
of its associated elements (water, fire and air), or even of its great kingdoms (animal, 
vegetable and mineral), and the forms of life (beasts, birds and fishes), including the 
constituents of man liimself (popularly called body, soul and spirit), cannot have been 
altogether accidental correspondences to this architectural fact, any more than they 
are to the aphorism that almost everything may be as readily (and, usually, more log- 
ically) divided into threes as into halves. 

5. The duplicate division, too obvious in the Tabernacle to need specification, is 
based upon the sexual distinction, no less than the grand distribution of " the earth 
and the heavens," the former again being divisible in the land and water. Its 
great lesson is the dualism that pervades not only nature (chiefly as opposites, 
e. g. heat and cold, light and darkness, but sometimes as allies, e. g. food and drink, 
light and heat), but still more significantly the moral realm (virtue and vice, God and 
Satan). 

6. Finally the single object, as the germ of all, most strikingly suggests the unity 
of all things, especially in God the universal Maker, Preserver and Judge, and (most 
relevantly to this connection) the only being entitled to adoration in any realm of 
existence (heaven, earth or hell). 

The cubit itself, which, as we have seen, is constantly the unit of measure 
throughout the Tabernacle and its appurtenances, is a natural standard, being the nor- 
mal length of the fore-arm, or the distance from the elbow to the wrist in a full-sized 
man (Deut. iii, 11) ; and in the figurative idiom of the Hebrew its name is character- 
istically ammdh, which is merely a variation * of the word em, a mother, not so much 
(as the lexicons explain f ) " because the fore-arm is the mother of the (entire) arm " 



* It is in fact the fem. form, for em (a "mother" 
in the lit. sense), being a primitive word, actually has 
the masc. or root form. 

fGesenius expressly says, "mother of the arm," 



citing Deut. iii, 1 1, as authority ; and Fiirst sub- 
stantially does the same, giving the word the original 
sense of " elbow-joint, then arm, and lastly more 
specially the fore or lamer arm." 



76 



SYMBOLISM OF TEE TABERNACLE. 



(a metaphor not very obvious surely), but because the cubit (or ulna) is the " mother " 
(as it were) of all dimensions (whether in the human body* or elsewhere). 

It deserves notice that no irregular multiples or fractions are employed in the 
measurements of the Tabernacle, nor (with the exception of the dimensions of the 
Table of Show-bread and of the Ark, which are a regular aliquot part, namely the 
half, of 5 and 3 respectively), is any mixed number, consisting of a whole number 
and a fraction, either expressed or implied.f 

II. As the next element of symbolism we place color, for that is truly the basis 
of form, since the shape of objects is really determined (ocularly) by the variations of 
color or the degrees of shading at the edges ; and the outlines differ according to the 
point of view or the aspect, while the color, at however great distances (if the object 
be distinctively visible), remains constantly the same. Indeed without color, which 
is but a variation of light, any object is altogether invisible. "We should note that all 
the colors of the Tabernacle were what are called "fast," i. e. permanent, or not liable 
to fade ; hence none of them are drawn from the vegetable kingdom, nor used in 
dyeing vegetable materials.:}: 



* In like manner tailors and mautua-makers fre- 
quently reckon the proportions of a garment by the 
length of a finger, or the size of the chest; and glove- 
fitters by the diameter of the hand or even of the 
wrist. In fine we may compare the kindred standards 
of a palm, a finger-breadth, etc. 

fin the number 12 the essential symbolism is to be 
sought, not in the months of the year (which among 
the Hebrews, being lunar, were often 13), much less 
in the signs of the zodiac (which are an astronomical 
refinement), but in the product of the only two sub- 
divisions possible of the number 1 ; for the " dozen " 
is a modern unit arithmetically, and even in the mul- 
tiplication table the decimal limit would have been 
more natural, and probably more convenient. This 
number accordingly is only employed in Scripture 
conventionally, and derives its whole significance from 
that of the tribes of Israel, whence it was transferred 
to the apostles as representatives of the Christian 
Church. It is therefore purely national and ecclesias- 
tical. 

In like manner the number 7, while having no 
strictly natural type, was formally adopted as the 
sacred number from the institution of the Sabbath as 
a holy season, and accordingly it enters conspicuously 
into the symbolism of the Tabernacle as an element of 
dimension in the enigmatic curtains only, and in the 
deeply significant lamps of the candelabrum. 

So again the numbers 3 and 4, components of 1 and 
12 by addition and multiplication respectively, are 
not derived from any such abstract notions as (for the 
former) the three divisions of the universe (air, earth 
and sea), dimensions of space (length, breadth and 



thickness), or the Trinity, nor (for the latter) the four 
points of the compass, etc.; but are rather the basis 
of the only two perfect forms (besides the circle, 
which is the type of unity), namely the square and 
the triangle, of which we treat elsewhere. Accord- 
ingly, they also appear only in the utilitarian details 
of the Tabernacle, unless we except the tripartite or 
quadruple colors (strictly quintuple) of the sacred 
textures. 

% If it be true that "order is Heaven's first law," it 
is equally true that proportion is Order's first law, and 
that number is the basis of proportion. Form or fig- 
ure is ultimately resolvable into the three constituents 
of the number, relative dimensions and proportion of 
the parts, the latter two of which are also expressible 
only in numbers ; and all these are in the department 
of mathematics, which applies two of the senses, 
touch and sight, to the mutual corroboration of abso- 
lute truth. Color, on the other hand, is an indepen- 
dent quality, recognisable only by the latter of these 
senses, and residing wholly in the surface of objects, 
which likewise is the field of the former sense, while 
their substance is comprehended under form and 
number. It is certain, however, that color itself is 
produced by the shape of the exterior particles of the 
matter of bodies, for it is refracted, diffracted and 
reflected according to this, and the hue of substances 
may be changed b}' merely polishing or powdering 
them, the superficial atoms acting as minute prisms 
in resolving the rays. Color, therefore, is a purely 
accidental or artificial quality of the outside, while 
those attributes that have been hitherto considered 
are native and inherent to the essence of the matter. 



BLACK AND WHITE. 



77 



1. "We begin therefore with black, which is, strictly speaking, the absence of 
jail color, and therefore the emblem of secrecy, mourning, etc., as darkness 
; is of death, sin, etc. In the Tabernacle, accordingly, where cheerfulness 

is the prevailing idea (for the worship of Jehovah, however awful, is not 
to be regarded in a forbidding aspect), there is but little occasion for using 
this color (popularly so called); and even then it is in a softened phase, namely, 
the dusky goats' -hair canvas. Here it is taken in the amiable or benign symbolism 
of protection or privacy, as the roof covers and screens the dwellers from exposure to 
the sun and the rain, and also from the public gaze or intrusion. For a similar reason 
there was no artificial light in the Most Holy Place, as this was the secret chamber of 
Jehovah, illuminated regularly by his own sun alone, and occasionally by his specially 
revealed Shekinah. Thus he " in whom (intrinsically) there is no darkness at all " 
(1 John i, 5), nevertheless, under the preparatory dispensation of Judaism, " would 
dwell in the thick darkness" (1 Kings viii, 12), until the Light of Life, "the effulgence 
of his glory " (Heb. i, 3), came forth from " the light that no man can approach 
unto" (1 Tim. vi, 16), to open the secrets of his nature to man (John i, 18), and to 
dissipate the gloom of sinfulness and the grave (2 Tim. i, 10). 

2. As the harmonious blending of all the prismatic colors, although itself not 
reckoned as a (peculiar) color at all, white continually reappears in the Tabernacle, 
the opposite of black and the emblem of innocence in the Scriptural sense of justifi- 
cution, including pardon, purity and peace. It gleams in the silvery sockets, hooks, 
rods, etc., emblems of the attractive points of connection between the various stages 
in divine worship. It is untinged in the inviting exterior of the Court, and in the 
cleanly inner garments of the pontificate ; * and it is tinted with softer hues in the 



For this reason we are prepared to expect that its 
symbolism will be conventional in the highest degree, 
and we shall accordingly find that it enters into the 
sensuous imagery of the Tabernacle to express cove- 
nant relations only, addressed solel\ r to the eye of 
faith, and not belonging to the natural properties of 
things. The three remaining senses are in their turn 
presented each with their appropriate fields of sym- 
bolism in the concomitant of worship, the silver 
trumpets for the ear, the incense for the nose, the 
tithes for the palate. Modern science, however, has 
demonstrated that all the senses are affected by un- 
dulations or pulsations upon the nervous extremities 
of the appropriate organ, and that colors no less than 
sounds, and doubtless also smells, tastes and tactual 
perceptions, are differentiated by arithmetical ratics 
in the waves and strokes through the medium. The 
proportions of numbers therefore are constantly the 
index of order in nature, and this is at least a hint of 
the method of "grace upon grace : ' graduated after 
the lesson of the parable of the pounds or the tal- 
ents. 

* On one occasion only, namely, the great day of 



annual atonement (Lev. xvi, 4, 23, if we are correct 
in understanding the "holy garments" of simple 
" linen," there mentioned, to have been a special suit 
of unbleached stuff), was this rule departed from, in 
order to symbolize the general sinfulness of the priest- 
hood as well as laity, whom the high-priest then im- 
personated, as if in weeds of half-mourning. The 
earthly representative was not allowed to enter 
Jehovah's immediate presence without a badge of his 
imperfect purity, but the ever sinless High-priest 
ascended within the heavenly vail in his original 
vesture of perfect glory. 

There was also a utilitarian purpose in this change 
of clothing, in order not to soil the pontifical regalia 
with the blood which the high-priest was re- 
quired to sprinkle so freely during this ceremony 
about the entire premises (ver. 14, 15, " upon the 
mercy-seat eastward " is immediately explained by 
" before" the mercy-seat, i. e. on the ground in front 
or on the east side, not on the lid of the Ark itself; 
so in ver. 18, the "altar that is before the Lord " is 
the copper altar of burnt-offering, not the golden altar 
of incense). 



78 SYMBOLISM OF THE TABERNACLE. 

entrance and side screens and in the more ornamental parts of the high-priest's ap- 
parel. If, as we have conjectured, the fur of the inner skin-blanket of the walls were 
that of a grayish goat or antelope,* it will correspond well with the unbleached 
material of the sacerdotal drawers (of flax), cap and shirt (either of flax or wool), 
worn next the person ; not so dazzling white as to show the slight discoloration of 
necessary wear, but yet white enough to betray any real soil or foreign substance. 
This may have hinted at the every-day hue of practical piety in this work-a-day 
world, not too nice for mortal touch, and yet not stained by actual sin ; while the 
unsullied lustre of the bleached linen on the outmost inclosure, and on the body and 
head of the high-priest, was a type of the immaculate pale of the true church of God, 
and of the spotless character of its true ministry — above all, of its sinless Head. 

3. Foremost among the true colors of the Tabernacle was what in common par- 
lance may be called "blue," but was in reality a mixture of indigo-blue with deep- 
red. So also was the next color (they are always named in the same order), f the dif- 



* The tachash was of course a ceremonially " clean " 
animal, and this at once excludes all the conjectures 
of a marine creature, whether of the seal or por- 
poise tribe; for although these may possess fins, they 
certainly have no scales (see Lev. xi, 9-12; Deut. 
xiv, 9, 10). It was probably of the goat or antelope 
genus, several specimens of which of a suitable char- 
acter are found in the adjacent regions, and one of 
them especially (antilope barbatus) is said to bear the 
closely similar name of tachasse in the native dialect 
of the interior of Asia. The use of tachash-skm for 
shoes (Ezek. xvi, 10) is not in reference to coarse 
sandals, but to a soft material for ladies' wear. In 
the absence of a definite identification, we cannot 
securely seek for the symbolical import further than 
to presume that the fur was fine and beautiful. The 
rougher and stronger external skin was colored for 
artistic effect, and afforded a rich contrast to the dark 
roof and the yellow planks. Beyond this it is uot 
worth while to pursue the symbolism. 

f Atwater observes (The Sacred Tabernacle, p. 284, 
note): "The colors of the [wall] curtain called the 
tabernacle are always mentioned in the order which 
follows, namely, fine-twined linen, blue, purple, and 
crimson ; but in all other cases, including the three 
veils and the sacerdotal garments, the colors are 
enumerated as blue, purple, crimson, and fine-twined 
linen. No one has suggested a reason for the differ- 
ence of arrangement." One of these statements is 
not strictly correct, for in Exod. xxxix, 29, the colors 
of the high-priest's girdle are enumerated in the same 
order as those of the wall-curtains, namely, " fine- 
twined linen, and blue, and purple, and scarlet." 
This shows that no special significance attaches to 
the position of the white, except in its relation to the 



gold, and so long as the other three colors are in 
their proper order, as they invariably are. Indeed 
it proves that the white was not a stripe at all, for 
in the description of the girdle of the ephod (which 
we can hardly suppose to have been different in this 
respect from the principle girdle) the white occupies 
again the last place (xxviii, 8; xxxix, 5). This is 
also corroborated by the fact that a similar variation 
occurs as to the relative order of the gold embroidery 
in the two accounts of the curtain for the court en- 
trance (xxvii, 16; xxxviii, 18). The reason why the 
linen is named first in these two instances only 
(namely, the curtains twice, xxvi, 1 ; xxxvi, 8 ; and 
the principle girdle once, xxxix, 29) seems to be the 
great length of these pieces of cloth (the longitudinal 
threads being of that material) as compared with the 
others. In the account of the same colors used in 
Solomon's Temple (2 Chron. ii. 1, 14), the order is not at 
all observed, except as to the inner vail (iii, 14'; because 
in that piece of cloth alone was it then employed, as 
there were no side curtains. We may further remark 
that the regular order, by which the gold (or its 
equivalent, the embroidery) is mentioned first, and 
the linen last (whenever these occur at all), is never 
varied except when (as in the cases of the linen 
noticed, and that of the gold already cited), the 
ground and figured colors are enumerated in the 
aspect of materials in bulk or in process of manufac-. 
ture, rather than as made up articles (so the gold 
last, in the account of the contributions, xxv, 4; 
xxviii, 5; xxxv, 6, 23; of the men's work, xxxv, 35; 
xxxviii, 23; of the ephod, xxxix, 2, 3; of the breast- 
plate, xxviii, 15; xxxix, 8). The addition of "linen " 
to the list of pomegranates in xxxix, 24 (where 
" twined " refers to the colored threads), is a mistake 



THE BRIGHT COLORS. 



79 



ference being that in the former the blue predominated, in the latter the red. These 
two are the only instances of a compound color occurring in the whole description 
(except the implied brown and gray noticed above), and they serve to show that no 
scientific analysis of rays is regarded. Green, it will be noticed, is altogether excluded, 
notwithstanding its abundance in nature, and its pleasant effect upon the eye, 
especially in a verdureless desert ; perhaps because it is suggestive of the earth, and 
hence too worldly, and also because it is almost exclusively vegetable. Blue, how- 
ever, especially of the warm violet shade, is eminently characteristic of heaven (the 
cerulean sky, with a reddish tinge prevalent in the Orient), and hence interpreters, 
as by common consent, have not failed to recognise the symbolism here. " Blue " 
was used alone, to indicate the unalloyed serenity of the celestial world, the topmost 
goal of human aspiration ; or in alternate stripes (never commingled, except with the 
white light that underlies and transfigures it) of more gorgeous hues, to intimate the 
successive stages of terrestrial life and station, through which mortals must pass in 
order to attain it. 

4. The Tyrian purple of antiquity was universally accepted as the emblem of 
royalty, which in some countries had the legal monopoly of it, as among the Moham- 
medans green is the exclusive badge of a lineal descendant of the prophet. It is 
therefore so appropriate to the mansion and servitors of the supreme King that we 
need not dwell upon it. It stands between the blue-red and the deep-red, as its gra- 
dation naturally requires, and suggests that royalty, as yet unknown to the Hebrew 
polity, should eventually come as a mediator between God (in the azure heavens) and 
man (of the copper-colored flesh) ; * — a human vicegerent of divine authority, and a 
Victim with a two-fold nature and dignity. 

5. The remaining shade of red therefore, crimson (not " scarlet," which is too 
bright and flame-color to suit the gradation and symbolism), or cochineal-red,f can 
only point to blood, shading off from its arterial hue (that here especially denoted as 
freshly shed), through the purplish color of raw flesh, into the bluish cast of the 
veins, but everywhere in Scripture designating the life-principle of man and beast 
(Gen. ix, 4r-6), and the essential element of atonement (Heb. ix, 22). Here is a wide 
field for scientific and religious investigation, to which we forbear to do more than in- 
troduce the reader, leaving him to explore it with the copious aids easily accessible 
to him 4 

6. The gold so lavishly bestowed upon the Tabernacle, both solid and laminated 
as well as in threads, and perhaps likewise (as we have surmised) in the silken stitches 
of the embroidery, yields the remaining color, yellow, which is obviously symbolical 



of the A. V. (comp. xxviii, 33). The order of the 
words in question therefore, while everywhere true 
to the symbolism, is nowhere mystical or cabalistic. 

* It is noteworthy that adam (" man ") and adamah 
(" ground") both mean red, i.e. deep flesh-color, 
which is also that of unburnished and yet untarnished 
copper. 

•(■The Heb. explicitly identifies it with a worm. 



% Dr. H. Clay Trumbull, editor of the Sunday-School 
Times, has collected, with great learning and research, 
a mass of information on the wide-spread and deep 
relations of blood in the religious beliefs and customs 
of ancient and modern nations, in his interesting and 
valuable work, entitled, The Blood Covenant (N. T., 
1885, 8vo), which is in entire harmony with the 
pertinence of the symbol in this connection. 



80 



SYMBOLISM OF THE TABERNACLE. 



of the sun, as the great source of light (white) and heat (bright red as in flame).* Through 
the metal, however, as the standard of coinage, it becomes the emblem of valuation. f 



* It may be observed that Are (which is a sort of 
orange, or mixture of red and yellow) is not repre- 
sented here, perhaps on account of the dangerous 
tendency to its worship in the East. 

f "We have seen that the three wool-colors, violet, 
purple and crimson, are always in the same order, 
and we have presumed that they were invariably 
thus placed on the door-screens and elsewhere, read- 
ing no doubt (after the Heb. style) from right to left. 
Is it too great a stretch of fancy to suppose tiiat this 
too is significant "? Perhaps it symbolizes, first, the 
all-embracing and all-covering sk)', for the horizon 
bounds every view laterally, and the zenith every 
one vertically (hence we have begun and ended each 
screen with a half-stripe of violet) ; second, that 
royalty is the next form of supremacy, the celestial 
Sovereign being above all ; third, that blood is the 
basis of unity in race and sympathy; and hence the 
universal Lord became incarnate for man. The back- 
ground and overlay of gold intimates the price of hu- 
man redemption, both as originally provided, and as 
eventually paid; and the ground-color, white, points 
to the spiritual purity which is the origin and aim of 
the whole scheme of the Atonement. We may then 
translate the entire hieroglyph thus : Heaven's 
Royal Blood Purchases Purity. In the Hebrew 
idiomatic arrangement of words the significance 
would be equally apt and emphatic, and the form as 
precisely tallying in epigrammatic conciseness, for the 
five substances (or rather colors) are invariably named 
(when mentioned together in this connection) in the 
same order ("gold, and-violet-[wool], and-purple- 
[wool], and-crimson-[wool], and-bleached-[linen] "), 
so as to compose symbolically the ideogram, which 
we will endeavor to represent in English equivalents 
thus, Yiqnu ha*h-shamayim mim-mallce-hem be-dam-6 
eth-tohorath-enu, literally, Will-buy the-heavens from- 
their-King by-Ms-blood our-cleansing, i. e. Heaven will 
procure of its King our purification with his own blood. 
The sacrifice of the God-man upon the cross is the 
only ransom of the human race from sin and its 
divinely pronounced penalty. 

Expressed Hebraistically as a rebus, the elements 
will stand as in the following table. It may be ob- 
served that the three great realms of nature are all 
represented; the mineral (as basal) by the first sub- 
stance, the animal (as most important) by the next 
and principal three (the sea, as being most populous, 
by two ; and the air by one), and the vegetable by 
the last: the hues begin with a faint one, and end 



with the mildest; while the intermediate ones are 
brilliant, in the order of the intensity of this strong- 



Order. 


1 


a 


3 


4 


5 


Heb. 
name. 


ZabSb. 


Tekeleth. 


Argaman. 


Shaui. 


Shesh. 


Object. 


Gold. 


Cerulean 
Mussel. 


Tyrian 
Conch. 


Oak Fly. 


Linen. 


Color. 


Yellow. 


Violet. 


Purple. 


Crimson. 


White. 


Idea. 


Price. 


Heaven. 


Royalty. 


Blood. 


Purity. 



est tint (red) ; the earth, with its (mixed but predom- 
inant) color (green), as elsewhere noted, is studiously 
ignored in expression ; but with its living tribes is 
every-where supposed in fact. The first, the middle 
and the last thought are abstract, the other two con- 
crete (the second divine, the fourth human) ; each 
thus linked together : the initial purpose is redemp- 
tion, the central one supremacy (of the God-man), the 
final one holiness. This central legend, emblazoned 
on every avenue to the divine Majesty, and also on 
the person of the pontifical mediator, silently pro- 
claimed with celestial rays (Psa. xix, 1-4), the grand 
secret of the one true faith, devised in the eternal 
counsels of the Almighty (Col. i, 26, 27). It is the 
gospel of the Tabernacle, and a fit culmination of the 
symbolism of the entire edifice and its paraphernalia. 
It is the germinal idea at the core of this architec- 
tonic embodiment of the Levitical cultus, the perpet- 
ual countersign of all real members of the universal 
Church, and the key-note in the everlasting song of 
the redeemed (Rev. v, 9, 10). It is the one essential 
doctrine both of Judaism and of Christianity, the 
cardinal fact foreshadowed in the former and realized 
in the latter. Like the prismatic bow of the first 
covenant with the second progenitor of our race (Gen. 
ix, 13), and like the mystic ladder of Israel's dream 
(Gen. xxviii, 12), it bridges the void between heaven 
and earth. It 'may be reserved for modern science to 
descry in its variegated bands the spectrum that shall 
disclose something of the inner nature of that far-off 
world where in his glorified humanity the divine Son 
is fitting up the home of his saints. 

As the width of the successive colored stripes is not 
given (they were doubtless co-equal in each piece of 
stuff), we have taken the liberty of varying them in 



GEOMETRICAL FORMS. 81 

III. The remaining element of objects in and about the Tabernacle, that strikes 
the sense of sight as well as that of touch, is figure, and this we will consider both as 
relates to mathematical form and to general shape, — the one a conventional or utili- 
tarian sort of distinction, and the other a popular and resthetieal one, yet both blended 
in actual occurrence. 

1. Angular figures are mostly artificial, and therefore predominate in the 
mechanism of the Tabernacle, especially the rectangle, and this chiefly as a square ; 
for the triangle appears but occasionally, as the bisection or diagonal of the quadri- 
lateral. This figure is evidently the symbol of regularity, and leads us back to the 
idea of perfect proportion, with which we set out in this branch of our discussion. 
The cube or third multiple of the same dimension, however, is rarely if at all found, 
(except in the "tabernacle" part of the Most Holy Place), perhaps because it is mo- 
notonous. The oblique parallelogram is altogether avoided, as being unshapely. 

2. More difficult of construction (without the contrivance of the lathe), and yet 
more abundant in nature, is the round figure, whether plane or spherical ; and this is 
fairly frequent in the Tabernacle apparatus, although never explicitly stated. It in 
the type of symmetry, every point of the periphery being equidistant from the centre. 
To make it symbolical of the planetary bodies would be to anticipate the Copernican 
system.* 



this respect so as to suit the panels or spaces which 
they were intended to fill ; and it is a very remarkable 
coincidence that the violet falls exactly in the plain 
panel for the cherubim on the interior wall curtains. 
It is interesting to find moreover that in our arrange- 
ment of the folds the violet loops are always attached 
to the corners of the violet panels, as congruity re- 
quires. Moreover every hanging begins and ends 
with violet — heaven being the source and aim of the 
Atonement. The white linen foundation speaks of 
the purity and strength that underlie the whole 
scheme of redemption. 

Even the color of the superimposed embroidery is 
in harmony with the above symbolism, for as yellow 
is the emblem of the sun, this orb, the fourth element 
in the cosmical system, fitly wanders over the face 
of the others, especially of the blue sky, not only call- 
ing into being the (vegetable) forms of beauty (vines, 
etc.) but also personifying the (animal) powers of 
nature (the cherubim). 

It is noteworthy that as the temples and persons 
of the Egyptian and Assyrian monuments are figured 
all over with significant inscriptions, so the drapery 
of the Tabernacle and its high-priest is thoroughly 
pictured with this central lesson of the redemptive 
scheme. 

* Of the three simplest figures, namely, the circle, 
the triangle, and the quadrangle, representing respect- 
ively the unit as an emblem of eternity, the triad as 



an emblem of strength, and the paralellogram as an 
emblem of convenience, the first and the last appear 
in the symbolism of the Tabernacle as representatives 
of perfect form from opposite points of view suitable 
to their nature: namely, the one subjectively from 
within, as a type of self-poised independent complete- 
ness, in the pillars, the laver, and certain details of 
the apparatus; the other objectively from without, in 
the superficial arrangement of the apartments, and 
the shape of certain pieces of manufacture. Their re- 
spective solid forms, the sphere and the cube, are of 
rare occurrence; the former, which is the proper sym- 
bol of Deity, and therefore not to be graphically 
represented (according to the second commandment), 
scarcety appearing at all (for even the pomegranates 
and the bells are imperfect models) ; the latter only 
in the inmost shrine, the very abode of Deit} r , and 
thus the appropriate type, not only of heaven itself 
(into which Christ has finally entered, and whither 
his redeemed shall follow him), but also of the (as 
yet) invisible Church (whither under Christianity all 
the saints are even now admitted as priests each 
for himself). The two altars are squares, but not 
cubes, as if denoting a minor degree of perfection, 
the offerings, whether external and physical (like 
animal victims) or internal and spiritual (like clouds 
of incpnse) being limited (at least on earth) by the 
natural infirmities of the saints. The individual 
planks of the walls, which maj r symbolize the '-living 



82 



SYMBOLISM OF THE TABERNACLE. 



3. The most unique of the forms introduced among the accessories of the Taber- 
nacle is that of the cherubim, and, although purely symbolical, they have accordingly 
been the greatest puzzle to interpreters, who, being thrown upon their wits alone, 
have often taken the most unwarrantable liberties in divining their significance. We 
venture to expound them as cosmical emblems of the divine attributes, or as modern 
science (somewhat atheistically, we fear) styles them, " the laws of nature." They 
are the creative and providential functions of God, exercised in behalf of Ins human 
subjects through the agency — not of angels ( who are actual persons, i. e. free moral 
beings), as Scripture represents to be done in the supernatural relations of the world,, 
but of special imaginary beings, invented for this sole purpose, in the national and 
ecclesiastical spheres. Accordingly they are depicted as having a material form, and 
an animated existence ; as invested with a (human) body, yet ruddy as polished cop- 
per (not feathered, except probably on the wings ; nor hairy, except of course on the 
head, and possibly about the feet) ; as standing on the cloven feet and upright (pliable) 
legs of a ceremonially " clean " creature, to which free locomotion is secured if needed, 
or a firm position when at rest ; as possessing arms for convenient and efficient service, 
and likewise wings for independent transportation, the latter double for the purpose of 
a garment. (The consentaneous " wheels " of Ezekiel, to denote a support to the. 
divine throne, with their felloes of eyes [in Rev. iv, 6, 8, the eyes are many, and on 
the person], denoting vigilance in every direction, are a later device of the theo- 
phantic machinery.) The four faces (the countenance being the distinctive feature 
by which to recognise individuals) are the main index of their typical significance ; 
the human denotes intelligence, the leonine strength, the bovine perseverance, and 
the acmiline rapidity ;* so that we have the complete picture of an omniscient, omnipo- 



stones " of the true Temple, are accordingly rectan- 
gular merely, as being finite components of the di- 
vine abode ; and the outer apartments (holy place, 
sanctuary as a whole, and entire court) are for the 
same reason emblematic of this earthly state of ex- 
istence and worship, which will be dispensed with in 
the celestial Temple by the occupants of " houses not 
made with hands, eternal in the heavens." Yet even 
the earthly fane was not absolutely perfect either for 
divine residence or worship, for it was surmounted hy 
the prismatic peak, which pointed skyward to the 
superincumbent cloud as the place of the continual 
immanence of deity, rather than to the occasional 
Shekinah below. The outer room of course denoted 
a less degree of the divine presence, as to the uncon- 
secrated or nominal worshipper, and the outer court 
even less, as to the lay or Gentile world ; the former 
still under the shade of the sacred vocation, and the 
latter only under the broad canopy of heaven's gen- 
eral covenant. The triangle is of infrequent occur- 
rence, and its solid, the pyramid, seems to have been 
avoided as an Egyptian type of stability, both hybrid 



(for the base is not triangular) and inapposite (for the- 
Tabernacle was neither stationary nor perpetual). 

* Even the relative position of the four faces of the- 
cherubim appears to be significant: the human, as is. 
befitting the lord of creation, occupying the front; 
the leonine, as king of the lower orders, ranking next 
on the right; the bovine, as chief of the domestic 
animals, supporting on the left; and the aquiline, as 
prince of the air, bringing up the rear. As symbolical 
of the laws of nature the fourfold aspect of the- 
cherubim is neither arbitrary nor accidental, but. 
points to every quarter of the earth (comp. Job xxiii, 
8, 9 ; Zech. vi. 1-8), whither they are the vehicles of 
sovereign Providence, acting with the far-reaching* 
aim of sagacity, the right hand of efficiency, the left, 
of persistenc}', and the pinions of celerity; and with 
these essential attributes all their members corre- 
spond. Ever since the fall of man they forefend his 
access to the elixir of life by the sword of mortalit}- 
brandished outward in the three directions of disease, 
accident and old age; they garrison the Church im- 
pregnably against all assaults (comp. Matt, xvi, 18),, 



ANIMAL FORMS. 



83 



tent, uniform and ubiquitous maintenance and superintendence of tlie external fortunes 
and affairs of the body of true worshippers, i. e. the Church in all time. * It was for 



standing on guard at the portal of the King of kings, 
and presiding over the depositary of his statutes ; 
they are specially subsidized in every ecclesiastical 
crisis (as in the book of Ezekiel), although they only 
appear to the inspired eye (cornp. 2 Kings vi, 17). and 
they will not cease their ministry till the close of 
time (Rev. iv, 6-9, etc.). 

* It need occasion neither alarm nor surprise, if 
the early preconceptions of these singular forms, 
which have been idealized by the fancy of poets and 
painters and even of sober theologians into "cherubs" 
of infantile and charming guise, have to be brushed 
aside by the rigid facts of prosaic analysis and cool 
exegesis ; but the love of truth compels us to dismiss 
all such vague and chimerical ideas. We shall be con- 
tent if we reproduce them in a shape not positively 
repugnant to native delicacy. (In our picture the 
portrait of the lion, which is the most difficult to 
harmonize with the others, is copied from a photo- 
graph of a specimen, particularly mild at the moment, 
in the Zoological Gardens of London.) We must 
ever bear in mind that they were intended not to 
amuse but to symbolize, to delight the spiritual ap- 
prehension rather than to fascinate the eye. All 
sensuous imagery would have savored of idolatry; 
and this the sacredness of the shrine most intensely 
abhorred. Furthermore, modern notions have largely 
confounded cherubim with angels, although in Script- 
ure the two are widely different in character, func- 
tion, and representation. The latter are properly 
embodiments of personal and moral agents, real beings ; 
the former are merely exponents of ideal and natural 
qualities, configurations not only nonexistent but im- 
possible in fact. The cherubim are nndraped save by 
wings, in order to denote their original simplicity of sen- 
timent (inpuris naturalibus) and their nonconformity to 
artificial fashions. Angels on the contrary always seem 
in Scripture to have appeared in the ordinary costume 
of men, even if with a halo. In the passage usually cited 
in supportof the winged form ofangels (Dan. ix, 21), Ga- 
briel is explicitly called a " man," nor is there the slight- 
est intimation of his otherwise than perfect human 
form. The phrase " being caused to Hy swiftly," is a cu- 
rious instance of alliteration, rn&dph bidph, which may 
be rendered literally "made to fly with weariness," 
i. e., having suddenly arrived with the fatigue of a long 
journey ; for the former word is frequently used in the 
metaphorical sense of rapid motion, irrespective of 
wings, and the latter word has no connection with 
flying. Both words are evidently taken somewhat 



out of their ordinary meaning, for the sake of agree- 
ment in sound. Indeed the best modern Hebraists 
derive them both from the same word — and that the 
latter one, which is grammatically the more probable 
(both from its form and the idiom) — and render the 
clause " utterly weary." Thus all trace of winged 
angels disappears from Scripture ; for the locomotion 
in Rev. viii, 13 ; xiv, 6, was a special adaptation, as in 
xii, 14 ; and other instances adduced (Judg. xiii, 20; Psa. 
civ, 4 ; Isa. vi, 2 ; Matt, xxviii, 3) are not to the point. 

As to the seemingly uncouth combination of animal 
and human elements in the cherubic figures, our 
prejudices must give way before the plain descriptions 
of the Bible, and the delineations of contemporary re- 
ligions. The monuments of Egypt and Assyria fre- 
quently represent similar custodians of palaces, 
temples and sacred rites as having feathered wings 
and a bird's beak, and in other emblematic carvings 
in like cases a human face surmounts the body of a 
bull or a lion. Sometimes a more ignoble beast, or 
even a fish or a serpent is pressed into service. Pa- 
gan mythology is full of such hybrid forms. The 
sphinx is oneof the most notable riddles of antiquity. 
Nobody imagines that such creatures actually existed. 
The Scriptural cherubim are a great improvement 
upon even the classical models, and their very oddity 
renders their significance the more striking. 

The substantially human form likewise of those 
occult figures the Urim and Thummim, can scarcely 
be doubted after an examination of the passages 
where they are referred to, and especially upon a 
comparison with the teraphim of the Hebrews and 
the images of the Egyptian shrines. The reader, 
however, will observe that the genuine ones are never 
mentioned in the Mosaic account as objects of wor- 
ship, but only as a sort of talisman for divination. At 
this focal point of the sacerdotal apparatus, there- 
fore, we again meet with a most striking premonition 
of the atonement, which links earth to heaven, and 
allies God with man ; not now, as in the sacred colors, 
which are an aspect of the vicarious sacrifice for man 
before God, but in the theanthropic shape, which 
bodies forth the Deity before man, as the other great 
design of the assumption of flesh by the Son of God. 
Jesus is not only the light (fir) of the world (John i, 
5,9; viii, 12), but the sole perfect (tMm) human 
being, who reveals the divine nature and purposes 
(John i, 18), not alone by his person, which is the 
express image of the Father, but also in his life, 
which is the effulgence of His glory, — not simply by 



84 



SYMBOLISM OF THE TABERNACLE. 



this cultus that the Tabernacle itself was erected, in place of the casual, isolated and 
impromptu devotion of persons or families previously, with whatever rites or in what- 
ever order each might see fit, whether borrowed from traditions or profane sources, 
or dictated by caprice or fashion. So essential is a meeting-house that it has at length 
taken the name of a " church ; " and so useful is a ritual that even non-liturgical com- 
munions have adopted some conventional order of service. If they shall succeed in 
retaining the divine supervision symbolized in the cherubic guards, they may promise 
themselves permanence and success in the earth ; but it is only by preserving the 
spiritual baptism prefigured in the fire of the Cloud, the Altar and the Shekinah, that 
they can hope to fit the souls of their membership for the inward communion either 
here or hereafter. 

The varied postures of the upper set of cherubic wings, to which we have pre- 
viously called attention, remain to be expounded. On the wall drapery, where the 
figures are entirely stationary, we have conceived the wings as being folded nearly 
vertically * (as described in Ezek. i, 24, 25, " When they stood, they [not " and had "] 
let down their wings ") ; and this seems to us fitly to denote the quiescent attitude of 
the cherubim there as the fixed custodians of the holy apartments. On the Vail, 
however, where they are raised a cubit from the ground, in mid-air (so to speak), of 
course they would be represented as flying ; their wings being extended horizontally, 
so as to touch those of the adjoining cherub (as described again in Ezek. i, 9, 11 
[render " parted from as to upward," instead of " stretched upward," i. e. separated at 
the top outwardly from the body], 23, 24]), like active sentinels, barring the passage- 
way.f Finally over the Ark, on the lid of which they stand,;}; and yet are raised as 



his precepts, which are the norm of infallible truth, 
but likewise by his example, which is the complete 
pattern for all saints. If we are correct in supposing 
that the object in the pectoral pocket of the high-priest 
was in fact single, although in name, for the sake of 
superlative emphasis, both double and plural, then 
this sole and peerless God-man, who once disclosed 
his innate splendor to the privileged three on the 
mount of transfiguration, and occasionally gave 
glimpses of his beatified glory, as to the protomartyr 
and to the pre-eminent apostle, is the real and apt 
antitype of this divining symbol as well as of the 
Shekinah between the cherubim; and the same who 
will be finally gazed upon, as the cynosure of the 
true fane, and the unsetting sun of the new heavens, 
by all the devout there forever recognised as " kings 
and priests unto God." 

* Probably over the other pair, so that, as on the 
Egyptian monuments, they appear as if having but 
two. 

f Not now armed, as in Gen. iii, 24, but allowing 
the high-priest to enter, yet not without his raising 
the Vail, and thus for the moment displacing them. 

% The Ark was closed by a lid, not as a sign of 



secrecy (for the Law was proclaimed with the most 
portentous publicity), but in token of inviolate safety 
and perpetuity ; and the cordon of cherubs was sig- 
nificant of the same guaranty. The Shekinah glow 
occasionally vouchsafed upon it, as a mark of the 
divine acceptance of the "blood of sprinkling, that 
speaketh better things than that of Abel " (Heb. xii, 
24, the one calling for vengeance against the fratri- 
cide, the other for pardon; see Luke xxiii, 34), when 
offered by the devout high-priest as a representative 
of his people, was a message of " mercy glorying over 
justice" (as we may properly render James ii, 13; 
eomp. Psa. lxxxv, 10) symbolized by the Decalogue 
lying below it; and this justification, which takes 
place in the arcana of heaven, is testified to the wor- 
shipper without by the spirit of adoption (Rom. viii, 
15, 16; Gal. iv, 6), which the ascended Advocate has 
sent into the hearts of believers (John xvi, 7) as a 
notice of his own triumphant reception within the 
Vail (Acts ii, 33 ; Heb. x, 1 2). 

The material on which the Decalogue was inscribed 
was an emblem of its formal rigidity (sec 2 Cor. iii, 
3, 7), the number of its tables indicated the trust- 
worthiness of its testimony (see Deut. xvii, 6), their 



CHERUBIC ATTITUDES. 



85 



high from the ground as on the Vail, they are in the act of alighting ; and therefore 
lift their wings somewhat higher, face one another, and bend their arms embracingly 
towards the Mercy-seat (Exod. xxv, 20)', as if it were their nest,* Their interest gradu- 



engsaving on both sides was expressive of its full 
significance (comp. Rev. v, ]), and its square form de- 
noted its perfection (comp. Hev. xxi, 16). The divine 
autograph was a seal of its direct authority, which 
even the Son lias never abrogated (see Matt, v, 17, 18). 

The disappearance of the autograph tables of the 
Decalogue after the destruction of the Temple by the 
Babylonians was the signal for a more earnest study 
of the Law by the Jews, which ensured its transferral 
to their minds so as never to be again forgotten, in 
letter at least (Jer. xxxi, S3). 

* This central object of the whole economy of the 
Tabernacle affords a most signal example of the 
casual and inaccurate style current in the interpreta- 
tion of the symbolism of the entire subject from the 
earliest times to the present day. The lid of the Ark 
has been made an emblem of divine reconciliation 
without the slightest foundation for the conceit. 
The prominence and universality of this error deserve 
a detailed refutation. 

(1.) Philologically considered the Heb. word kappor- 
eth is a fem. participial noun from baphar, which 
means to cover, and therefore signifies merely a cover- 
ing or "lid n to the box. It is used of this article 
only, because none of the other pieces of furniture 
or utensils had a movable cover. The Septuagint 
version translated it by the Greek term hilasterion, 
which means propitiatory ; the Latin Vulgate imi- 
tated the rendering by propitiatorium, and the later 
versions have heedlessly adopted the same idea, as in 
the Authorized English " mercy-seat," which the 
Revised Version has retained. Hence a world of 
mistaken sentiment f>nd false poetry has been freely 
const rncted throughout Christendom by allusions to 
this supposed symbol, based upon a sheer blunder of 
translation. It is true, the verb, especially in the 
Piel or intensive conjugation, from which this word 
is immediately derived, often has the figurative sense 
of covering up or pardoning sin ; but this very rarely 
occurs without express mention of guilt and a prepo- 
sition to connect the object with the verb, and thus 
point out the figurative relation. The Most Holy 
Place is once (1 Chron. xxviii, 11) styled " the house 
of the kapp&reth" but this was never a distinctive or 
prominent title of the building or the apartment; 
though in David's time it may naturally have been 
used for the home about to be prepared for the long 
houseless Ark itself, of which the kopporefh was so 
conspicuous a part. There is no sufficient linguistic 



reason for departing from the obvious literal mean- 
ing of the word here, as denoting a cover to the 
chest. 

(2.) Exeyetically regarded, nothing could be more 
inappropriate than the notion of any piacular or 
atoning quality or reference in the lid of the Ark or 
anything connected with it. True, it was the seat 
of the divine Shekinah, when present; but this was 
occasional only, accessible to the high-priest sole]}-, 
but once a year at that, and deterrent when it did 
occur (see 1 Kings viii, 11). The cherubim that 
stood upon it were in like manner forbidding rather 
than inviting ; for, as at the gate of Parad'se, they 
were designed to warn off all intruders; and with a 
like intent the Ark itself was closed from all inspec- 
tion by the cover in question. Privacy and severity 
were the regnant principles in the entire arrange- 
ment of this article most especially. There is not 
the slightest hint that clemency or pardon was signi- 
fied, but, on the contrary, the most rigid seclusion and 
inexorable justice. The high-priest himself was not 
allowed to approach it in his robes of office, but as a 
culprit doomed to degradation and death. Inaccessi- 
bility and sternness were its chief or only lessons- 
Such passages as Exod. xxv, 22, which speak of 
communication from that spot, have reference to 
Moses exclusively. 

(3.) Authoritatively expounded, we are not at lib- 
erty to appeal to the apostle's allusion in the Epistle 
to the Hebrews (ix, 5, where the popular term hilas- 
terion is of course employed, but without any special 
stress or interpretation); for the context shows that 
the main purpose of the reference is to bring out a 
contrast in this respect between the Jewish " mercy- 
seat" and the Christian, rather than to make the 
former symbolical of the latter. Thus, whether we 
consider the rent vail as the separation between this 
world and the other as regards the glorified Redeem- 
er in heaven, or his justified believers on earth, it is 
emphatically true that Christians only are privileged 
to enter the sacred presence with assurance of wel- 
come (Heb. x, 19-22). The true and only propitiator- 
ium is the person of Jesus Christ (Rom. iii, 25 ; 
comp. Heb. ii, 17; 1 John ii, 2; iv, 10); and this 
cannot with any propriety be symbolized by the Ark, 
for although the sprinkling with blood occurred in 
connection with both, yet in the case of Jesus it was 
his own blood poured forth upon his own body, while 
the Ark had no blood of its own, and the victinVs 



86 



SYMBOLISM OF THE TABERNACLE. 



ally deepens and intensifies in the sacred deposit intrusted to their care amid the dark- 
ness, the silence and the loneliness of the Holy of Holies, and at length they hover 
over it with the affection of foster-parents. Throned within this triple line of mysti- 
cal guards, the blazing symbol of the King of kings occasionally deigned to manifest 
itself to the favored but representative worshipj>er, in all that mortal eyes could bear 
of the divine glory (Exod. xxxiii, 18-23 ; xxxiv, 5-8), while overhead perpetually hung 
the milder token of Jehovah's presence before the public gaze, in the nimbus * alter- 
nately white and glowing. 

4. In the sacred Ark, although designated by a different term from that of 
Noah, f we may still recognise the common idea of preservation ; in the present case 



did not actually come in contact with it all (as we 
have shown on p. 11, note). The arguments adduced in 
favor of the popular view by the writer of the Bible 
Commentary (i, 368, Am. ed.) are insufficient to coun- 
tervail these objections. The only sense in which 
the idea of a propitiatory could be entertained, con- 
sistently with sound Christian typology, would be 
the local one of a favored spot where Jehovah 
deigned to show himself in token of special approba- 
tion of the worship rendered him ; but for this 
thought the term " throne " would have been more 
appropriate, a meaning which cannot be extracted 
from kupporelh, although it is implied in the word 
yosheb, sometimes used by the sacred writers in poet- 
ical passages alluding to the sanctuary (lit. "the 
[OneJ sitting between the cherubim," etc.). Among 
eminent modern Jewish and Christian scholars, some 
are still in favor of the rendering " mercy-seat" (so 
Kalisch, Lange, Keil, Michaelis, Tholuck, and a few 
others) ; but the great majority of the best linguists 
and interpreters favor the simpler version "lid " (so 
De Wette, Gesenius, Piirst, Schott, Zunz, Knobel, 
Herxheimer, Leeser, Benisch, Sharpe, Delitzsch, 
Kuiuol, Winer, and many others); some are unde- 
cided (Rosenmiiller, Ewald, Hengstenberg, etc.). 

* Heb. anan, the dense thunder-cloud, loaded with 
the refreshing shower, yet charged with the electric 
flashes. Sir Walter Scott, in the song which he puts 
into the mouth of the captive Jewess Rebecca at her 
evening devotions, while awaiting death by fire as a 
sorceress for her benevolent cures (Ivanhoe, chap, 
xxxix), has so beautifully expressed some of the sym- 
bolical features of the pillar of cloud and fire, that we 
transcribe it here, taking the liberty of making a few 
verbal changes (especially to avoid anachronisms and 
the speaking of " Israel " in the feminine): 

When Israel, of the Lord beloved, 

Out ot the land of bondage came, 
Their fathers' God before them moved, 

An awful guide, in smoke and flame. 



By day, along th' astonished lands 

The cloudy pillar glided slow ; 
By night, Arabia's crimsoned sands 

Returned the fiery column's glow. 

Then rose the choral hymn of praise. 

And trump and timbrel answered keen ; 
While Miriam's music poured its lays, 

With maid's and warrior's voice between. 
No portents now our foes amaze, 

Forsaken Israel wanders lone ; 
Our fathers left Jehovah's ways, 

And He has left us to our own. 

But present still, though now unseen, 

When brightly shines the prosperous day, 
Be thoughts of Him a cloudy screen 

To temper the deceitful ray. 
And oh, when droops on Israel's path 

In shade and storm the frequent night, 
Thou God long-suffering, slow to wrath, 

Be still a guiding, cheering light ! 

Our harps we left by Babel's streams. 

The tyrant's Jest, the Gentile's scorn ; 
No censer round our altar beams, 

And mute our timbrel, trump, and horn. 
Yet God has said, " The blood of goats, 

The flesh of rams I will not prize ; 
A contrite heart, with humble thoughts, 

Is my accepted sacrifice." 

The allusion to a screen against prosperity, how- 
ever, seems to us, although delicate, yet rather equivo- 
cal. The smoke by day and the flame by night 
rendered the cloud conspicuous at all hours, and at 
the same time formidable to foes and friendly to 
allies as a sign of the lambent fire within, a token of 
power and warmth no less than of light. During 
the nocturnal passage of the Red Sea (Exod. xiv, 20), 
the pillar showed a bright side toward the Israelites, 
but a dark one toward the Egyptians; aiding and 
comforting the former, but impeding and threatening 
the latter. (See Psa. lxviii, 8; lxxvii, 17; 1 Cor. x. 2.) 

f Heb. tebdh, a foreign word, prob. signifying a 
dust, and used only of this vessel and of the 



THE THREE ARKS. 



87 



as a depository of the divinely-given tables of the moral law,* in the other as a tem- 
porary receptacle for such of the animal tribes of the vicinity as could not otherwise be 
readily reproduced. The significant manner in which an apostle alludes to the flood 
{2 Pet. ii, 5 ; iii, 6) seems to have led the framers of the baptismal service in the 
English Prayer-Book to regard Noah's Ark as typical (for it is there associated with 
the passage of the Red Sea, as if likewise " prefiguring Holy Baptism "). Be that as 
it may, Noah's ark, as being the very first inhabited structure known to have been 
planned by the Almighty Architect, it might be presumed, however different its de- 
sign, to offer some points of analogy to the Tabernacle at least, and possibly to the 
Ark under consideration. It is therefore worth our wkile to make a brief comparison. 

(1.) The dimensions of the Noachian edifice (for such it was before being 
launched by the Deluge) are given likewise in cubits ; namely, 300 long, 50 wide and 
30 high (about the proportions of a large merchantman or steamer of the present day), 
which (with the exception of the length, which in a sea-vessel must always be rela- 
tively greater than that of a house — for the latter would not stand securely if so nar- 
row) are not greatly out of ratio with those of the Tabernacle walls (30 x 10 x 10), 
nor with those of the Tabernacle Ark (2£ x \\ x 1£). The ark of Noah had three 
stories, the Tabernacle one and a half, and its Ark properly but one ; showing a 
gradual reduction in this regard. As we are not informed what partitions, if any, 
were made in the successive floors of Noah's ark, we can not compare it in this re- 
spect with the Tabernacle or its Ark ; but we may presume that there was a corre- 
sponding decrease in their number. Internal decorations of course are out of the 
question in the case of both the other arks. The contents, however, were in a cer- 
tain sense germinal in all three ; the first contained the vital seeds of a new popula- 
tion for the globe, the second the hero-nucleus of a fresh nation, and the third the 
essential principles of all morality. 

(2.) It is in the architectural style of the three structures that we would naturally 
expect to find the greatest degree of conformity, as emanating from the same Mind ; 
and here we are not disappointed. All three were essentially a rectangular box 
(neglecting the tent-roof of the Tabernacle, which was properly no part of the w r ooden 
mishkdn or " dwelling "). Plain, indeed, was this form for a ship, and not very 
artistic perhaps for a house or even for a chest ; yet it was admirably adapted in fact 
to all of these uses, the first to be floated, the second to be " pitched," and the third 
to be simply set down. The roof, which we have just laid out of the account, pre- 
sents nevertheless some very curious points of resemblance ; for although flat of course 
in the case of the Mercy-seat, it must have been more or less sloping in the Noachian 
ark, as in the Tabernacle, to carry off the rain. At the eaves especially we find recur- 
ring an arrangement remarkably similar, and yet characteristically different, for the 
purpose of shedding the drip ; the bottom cubit of the roof -material all around, which 



in which Mosea was inclosed (Exod. ii, 3, 5), both in- 
tended to float on the water. It is not a little singu- 
lar that on the Egyptian monuments (as we have seen) 
the shrine and a boat are so often associated together. 



* That this was the simple purpose of the Ark is 
evident from Deut. x, 1, 2 ; indeed from ver. 3 it seems 
that the Ark was prepared in advance. This was the 
peerless jewel of the entire casket and treasure-house. 



88 



SYMBOLISM OF THE TABERNACLE. 



in the Tabernacle was turned down over the top of the walls, was here carried ont as 
a cornice or projection, and left an opening of that width in the top of the side walls, 
for light and ventilation, (Gen. vi, 16).* In this opening was set the lattice, f which 
Noah first opened to let the raven and the dove out and in (Gen. viii, 6), and through 
which, as it was situated at the ceiling of the upper story 4 he could see the towering 
tops of the surrounding mountains (ver. 5). It was only after the return of the dove 
with a fresh olive-leaf in her mouth, which assured him that the ground was sufficiently 
dry to warrant him in doing so (ver. 11), without danger of swamping his vessel in 
some valley, that he ventured to take off part of the side boarding itself,§ and then 
for the first time actually saw that the ground was thoroughly dry (ver. 13). This 
explanation so fairly clears up this difficult passage, and at the same time so 
corroborates our view of the Tabernacle, that we trust the reader will pardon what 
otherwise might seem to be unnecessary digression. (See Fig. 37.) 

(3.) The ark of bulrushes (i. e. papyrus reeds), in which the infant Moses was 
placed by his mother (designated as we have seen above by the same word as the ark 
of Noah), is significant likewise of preservation, and has many other features of simi- 
larity. It was a wicker box of about the same proportions as the average noticed 
above, being shaped like a sarcophagus or mummy-case, coated too with bitumen 
inside and out (corresponding to the plating on the boards of the Tabernacle and the 
Ark of the Covenant), draped with the babe's clothing, and requiring for his breath- 
ing an opening around the top of the floating cradle of the future law-giver similar t > 
that of the Noachian ark, effected doubtless by the omission of some of the longitud- 
inal courses of wattles. (See Fig. 38.) 

5. In the tables of the Decalogue deposited within the sacred Ark we at once 
recognise the symbols of moral law, not now for the first time promulgated — for the 
sins against God and the crimes against man there prohibited have always been out- 
lawed by the universal conscience ; but yet it was needful that these fundamental 
principles of ethics should be formally re-established and authoritatively published to 
the newly formed commonwealth of Israel. We perceive therefore that, while the 
ten commandments are specifically Jewish enactments, they are also cosmopolitan and 
perpetual statutes — " common law " as we now say ; yet in the theological sense no 



* '• A window [Heb. tsohar, a "light,"' used only of 
this object, and in the dual of noon; a different word 
is employed in viii, 6] shalt thou make to the ark, 
and in [rather " to," lit. •' toward "] a cubit shalt thou 
finish it [the ark, not the window, as the gender 
shows] above [rather "from the top downward," lit. 
" from as to upward," the identical expression ap- 
plied to the same space in the Tabernacle (Rxod. 
xxvi, 14)]." This space, where the boarding-up of. 
the sides was omitted, was protected from the rain 
by the over-jutting eaves. 

f Heb. chalon (lit. a perforation, A. V. " window "), 
constantly used of latticed openings in the side of 
Oriental buildings. 



% We conceive that the middle story of the ark, be- 
ing dark and chilly, was occupied with provender 
for the animals, while the hold would make an ex- 
cellent cistern for fresh water (filled by the 40 days' 
rain) necessary not only for use during the whole 
year's confinement, but also for ballast. 

§ Heb. milcseh, "covering," the very word exclu- 
sively applied elsewhere to the outside blanket of 
fur on the Tabernacle walls. Perhaps the exact part 
here referred to was the door in the side of the ark 
(of course in the bottom story), which was fastened 
on the outside (vi, 16; vii, 16), as was necessary in 
order to resist the pressure of water, which during 
the Flood would be very great. 



NOAH'S ARK. 



89 




90 SYMBOLISM OF THE TABERNACLE. 

more a ground of salvation for fallen man — who has already broken, and unaided can 
never keep them — than the ceremonial code of the Pentateuch is. They emphasize 
indeed certain principles of legislation, notably monotheism and the Sabbath, because 
these had been— and alas still are — sadly neglected ; but in the main they simply reit- 
erate the cardinal rules of civilized society. They are all negative in substance — as 
was the first command in Eden, and as criminal behests usually are ; and yet they at- 
tach no specific penalty, implying the extreme one of ecclesiastical excision and phys- 
ical death. They are personal in application (" thou shalt "), and unmistakable in im- 
port. Finally, as our Lord expounded them (Matt, v, 21, 22, 28), and as the enlightened 
Jew easily discovered (Eom. vii, 7-13), the meaning goes far deeper than the letter, 
and reaches to the spirit and intention of the soul (Heb. iv, 12). 




Fig. 38.— Probable Form of the Ark of Bulrushes. 

The typical character of the stone tablets is finely brought out even by Old-Testa- 
ment writers (Prov. iii, 3 ; vii, 3 ; Jer. xvii, 1 ; xxxi, 33), but still more clearly by those 
of the New Testament (2 Cor. iii, 3, 7 ; Heb. viii, 10 ; x, 16), as contrasting with the 
tender receptivity of the heart ; and the breaking of those prepared by Jehovah him- 
self, as ominous of a covenant never fully renewed, is intimated in Moses's own pre- 
monitions of the frequent and final apostasy of his people (Deut. ix, 7-24 ; xxxi, 16- 
27). 

6. The remaining features of the structure of the Tabernacle and its parapherna- 
lia, such as the variety in the colors and arrangement of the drapery, the swellings in 
the stem and arms of the Candelabrum, the jewels and additions to the pontifical 
robes, etc., although in a degree useful, were chiefly ornamental ; and in that light 
they symbolize the element of beauty as one of the important constituents in this les- 
son-picture of Jehovah to his infant people. The aesthetic is never neglected by the 
divine Architect, nor was it sacrificed to utility in the somewhat severe style * of the 

* It is proper to observe that while the Tabernacle, precious metals and valuable gems lavished upon it 
both as a whole and in its details, can hardly be were part of the "spoil" demanded by the Israelites as 
called elegant, as compared with the Temple and a just return from the Egyptians for long years of 
other gorgeous specimens of architecture, yet it was hard servitude (Exod. xii, 35, 36). The means of 
far from rude or out of taste. Indeed not only emi- keeping up the sacred services, such as flour, oil, etc., 
nent skill, but also great magnificence was displayed argue some communication with their settled neigh- 
in its design and decorations, and the materials were bors during the long sojourn in the Desert. Egypt 
often of the most costly character. The rich stuffs, is to this day the source of merchandise for the Arabs 



\f 




Fig. 39.— Tlic Acacia Seyal (tree, branch, flower, and pod). (From a photograph of a very tine specimen in 

Wady Feiran, near Mount Sinai.) To face p. 91. 



ACACIA WOOD. 



Tabernacle, any more than it is in nature, where birds and flowers and graceful forms 
mingle in delightful harmony with the athletic forces and the rugged aspects of 
earnest existence. True science and chaste art are the legitimate twin offspring of 
genuine piety. 

IV. Having thus nearly exhausted the external aspects of the Tabernacle equip- 
ments, we may properly inquire whether the various materials used in its constitution 
and operation may not likewise have some symbolical meaning. They are, as we have 
seen, drawn from all three kingdoms of nature, the mineral, the vegetable and the 
animal. "We will take them up as nearly as may be in the order of their occurrence. 

1. The largest in quantity of these materials, and that most used in dwellings, 
especially those intended for transportation like this, because furnishing the greatest 
strength for the least weight, is wood, which in this instance was taken from the 
acacia-tree, not merely because this was the most — almost the only one— accessible in 
sufficient quantities, nor yet simply because it was firm and durable, but— as we ap- 
prehend — also because by reason of its terrific " touch-me-not " thorns that tree was a 
fit emblem of the unapproachable majesty of Jehovah, and of all that pertained to 
him.* This was the symbolism likewise in the case of the burning bush that Moses 



there. The mines of the Sinaitic peninsula were a 
noted penal station of the ancient Egyptians, and 
regular trains of supplies were kept up for the mili- 
tary guards and convicts sent thither. These men 
were readily accessible to the Israelites, without dan- 
ger ol interference from the home government, now 
thoroughly reconciled to their emigration. Moses 
himself had the benefit of a forty years' experience 
as a refugee in this very region. The beaten caravan 
route from Damascus (Gen. xxxvii, 25) ran along the 
Philistine shore (Exod. xiii, 17). The cross-line of 
pilgrimage to Mecca is comparatively modern, and 
does not touch Mt. Sinai, which, however, appears to 
have been an ancient shrine of religious resort (Exod. 
iii, 1), as the inscribed rocks of its neighborhood 
seem to show. Its native population must always 
have been sparse and nomadic. 

* The tree is well described by Tristram {Natural 
History of the Bible, p. 391-2): "There can be no 
question as to the identity of the shitiah with the 
acacia, the only timber tree of any size in the Arabian 
desert. The species of acacia there found is the 
acacia seyal, a gnarled and thorny tree, somewhat 
like a solitary hawthorn in its habit and manuer of 
growth, but much larger. It flourishes in the driest 
situations, and is scattered more or less numerously 
over the whole of the Sinaitic peninsula. The timber 
is very hard and close grained, of a fine orange brown 
color, with a darker heart, and admirably adapted for 
fine cabinet work. Its leaves are small and pinnate, and 
in spring it is covered with its round tufts of yellow 
blossom, which grow in clusters round the branches, 



like little balls of fibre, and have gained for it its po- 
etical epithet of the 'yellow-haired acacia.' It be- 
longs to the natural order leguminosa, and its seed 
is a pod like that of the laburnum. 

" But it is best known for its commercial value as 
yielding the gum arabic of trade and medicine, which 
is exported in great quantities from the Red Sea. 
The gum exudes from the tree spontaneously, as I 
have often observed in hot weather, but is also ob- 
tained more systematically by making incisions in the 
bark; and the Arabs not only collect it for sale, but 
for food in times of scarcity. They also say that it 
allays thirst. The bark, which is a powerful astringent, 
is used by the Bedawin for tanning yellow leather, 
and the camels are fed on its thorny foliage. 

"The burning bush of Moses (Exod. iii, 2), called 
seneh in Hebrew, was no doubt an acacia, the 
Egyptian name of which is the equivalent, sunt, while 
the Arabic is seyal. The species is the acacia nil- 
otica, found also in the desert, and rather smaller 
than the true seyal. 

" There are several other species of acacia found 
in Palestine, but all similar in habit and appearance ; 
as the acacia famesiana on the coast, the a. serissa 
in some of the wadies, and a. tortilis in some of the 
southern wadies. These must not be confounded 
with the tree commonly called acacia in England, 
which is an American plant of a different genus, with 
white papilionaceous blossoms — the robinia pseudo- 
acacia." The Heb. name for the tree is shittah (fem. 
sing.), while for the wood it is shiltim. (masc. plur., 
i. e. the sticks). (See Fig. 39.) 



92 



SYMBOLISM OF THE TABERNACLE. 



saw in the same vicinity, which he was forbidden to approach (Exod. iii, 5). May 
not the manna — that article of food so strange to the Hebrews that they had no name 
for it (Exod. xvi, 15), * but which we know was a type of Christ as the Bread of 
Life (John vi, 31-35), may not this dew-like substance have been a preternatural 
exudation from this very tree ? — as the strikingly similar and highly nutritive " gum 
arabic " of commerce is the natural one from at least one species of the same genus 
(with which they must have been well acquainted in Egypt). 

The wood was employed in the Tabernacle chiefly for overlaying with metal, and 
was thus in a double sense a symbol of support, as it held up — whether naked or so 
covered — the textile portions of the tent-like structure. So the Israelites themselves 
— and all their fellow-creatures, but more especially saints — are upheld naturally as 
well as spiritually — by that tree of life, invisible since Eden, which emblematized 
the alimentive and curative power of God (Rev. xxi, 2). 

2. First mentioned among the metallic substances of the Tabernacle was copper, 
employed most copiously, not, as we apprehend again, merely on account of its 
comparative cheapness, but rather for its deep color, and especially because it is capa- 
ble (by some art now lost) of being hardened like steel,f and therefore the symbol 
of durability. 

3. Next in order of dignity among metals, but used with much liberty in the 
Tabernacle, was silver, the obvious symbol of clearness, by its white lustre. Its em- 
ployment for the trumpets is appropriate for the excellent tone thus produced, sym- 
bolical of the Gospel message (Ezek. xxxiii, 3 ; 1 Cor. xiv, 8 ; Rev. viii, 6 ; xiv, 6). 

4. The most costly metal, gold, was profusely employed about the Tabernacle, 
but wholly for inside work ; and is a universal standard, and therefore a symbol of 
value. 

5. Returning to the vegetable kingdom for the accessories of the Tabernacle 
structure and outfit, we find linen, or the product of the flax-plant, most prominent 
for the hangings and clothing. It is a symbol of cleanliness, which, as the old prov- 



*Heb. man hu, What (is) it? A. V. incorrectly, 
"It is manna." Mich. Liebentantz, in his little mon- 
ograph on this subject (De Manna Israelitarum, Wit- 
tenberg, 1667, 4to) nearly exhausted the sources 
of information (chiefly of a philological character) 
accessible in his day. The copy in our possession 
has MS. notes on the margin, apparently by the 
author himself. The true manna of the Desert is 
probably to be substantially identified, not with the 
medicinal substance current under that name among 
drnggists, which is a saccharine cathartic exuding 
from certain species of the ash-tree, but with the 
(jum arabic of commerce, tons of which the writer 
saw piled in sacks on the banks of the Nile at Aswan 
awaiting shipment down the river. There are sev- 
eral other Oriental trees which yield sweetish prod- 
ucts often called manna, especially the turfa or 



tamarisk, distillations from which are collected in 
small quantities at Sinai, but form a syrup, not at all 
answering the Biblical description, which moreover 
includes some miraculous features, especially the 
double quantity and the keeping quality on Friday, 
while none fell on the Sabbath. 

f Homer speaks (Odyssey, ix, 39; but some under- 
stand iron) of tempering copper for tools, and the 
Egyptians are thought (by Wilkinson, Anc. Egyptians, 
ii, 158) to have cut even the flinty Syenitic granite 
with it. They had extensive copper mines in the 
desert of Sinai, the refuse and pits of which are 
abundantly evident to this day at Surabet el-Khadim. 
They do not appear to have been acquainted with 
iron, and this metal accordingly does not find a place 
among the materials of the Tabernacle; nor would it 
have been suitable, from its liability to rust. 



THE VARIOUS MATERIALS. 93 

erb has it, is " next to godliness," and was a point of great concern in the sacred 
paraphernalia. 

6. Next in importance for similar use was wool of sheep, a ceremonially clean 
animal, evidently a symbol of warmth. 

7. For canvas alone was the goats' -hair (another " clean " animal) employed, 
which here seems to be a symbol of compactness, as the roof-covering required that 
quality in an eminent degree. 

8. The unshorn rams' -skins, tinted for beauty, are a symbol of protection from 
weather. 

9. The fur blankets were a symbol of softness. If of goats or antelopes, they 
likewise were from a " clean " animal. No further substance from the animal king- 
dom appears, except perhaps silk as an alternate for gold, and the red or crimson, 
likewise from a worm ; finally the two purples, from sea-shells. 

10. The rope, probably also of flaxen thread, used as stay-cord, may be taken to 
represent strength, as linen twine is the least liable to break of any. 

11. Finally in this list of substances we set down, what are perhaps the most 
expensive of all for their size, the gems or precious stones, which, as they -were 
to receive the engraving, may be regarded as a symbol of hardness. 

Y. Supplementary to the foregoing list, among elements employed in worship, 
we find water, as the symbol of regeneration ; (perpetual) fire, as representing 
(quenchless) zeal ; oil, as emblematic of richness ; wine, of cheerfulness ; salt, of 
wholesomeness ; flesh, of substance ; fat, of choice (as being the best part) ; blood, of 
life ; meal, of vigor ; and spice, of acceptability. Most of these are so frequent in 
the metaphors of the Bible that we need not dwell upon them in detail. 

VI. A more noteworthy feature of the arrangement of the various parts of the 
Tabernacle, and one which we might have considered under the head of its relative 
proportions, but which we preferred to scrutinize a little more closely by itself, is the 
gradation of comparative or official sanctity evinced in the successive apartments and 
pieces of furniture. 

In a general way it is obvious that the entire mansion and precincts are set forth 
as the residence of Jehovah in the style of an Oriental king, and that this was his 
special home among his chosen people. The successive door-screens kept out all in- 
truders, and the furniture was such as suited his royal state and convenience. In the 
court-yard were performed the culinary offices of the establishment, the food was 
cooked (as it were) on the Brazen Altar, and the washing was done at the Laver. The 
Holy Place represented the reception-room, where official business -was transacted ; and 
here the night-long lamp denoted the ceaseless vigilance and activity of the Heavenly 
King. The Table of Show-bread was his board, furnished with the three prin- 
cipal articles of Oriental subsistence, bread, oil and wine ; and the Altar of Incense 
was the place appointed for the reception of homage and petitions from his subjects. 
The interior apartment was his secret chamber for his own private counsels and 
retirement. 

1. After leaving the outside world of purely secular interests, we have first the 



94 



SYMBOLISM OF THE TABERNACLE. 



large court accessible to all priests and Levites, but (except for individual privilege) 
to none others.* This inclosure therefore symbolizes a sacred ministry in more than 
the usual sense of God's people. "Within this again we find the Laver, which is em- 
blematic of true piety (such as can only flow from a renewed heart, Tit. iii, 5), and is 
placed there as an indispensable prerequisite to any acceptable divine service, especially 
of the priestly representatives of the people (Heb. x, 22). The Great Altar is a figure of 
the personal consecration which they are to make of their whole selves to holy duties. 

2. In the next remove from secular life, the Holy Place, to which no Levite was 
ordinarily admitted, we see the exclusive tokens of a functional priesthood, which 
was necessary in the cumbrous and technical routine of sacrificial offerings, and was 
accordingly regarded as the only feasible medium of approach to the divine Majesty. 
Under the Gospel this whole system of human intervention is abolished, with the 
ritualistic system upon which it was founded, and every believer, whether old or 
young, male or female, becomes a king and a priest (for himself or herself only, how- 
ever) before God (1 Pet. ii, 5, 9 ; Rev. i, 6, etc.) The Candelabrum represents the 
intelligence with which such service must be undertaken, the Table of Show-bread 
(lit. "of the [divine] presence") the conscientiousness with which they must be dis- 
charged, and the Altar of Incense the prayerfulness with which they must be 
accompanied. Nor let it be supposed that these spiritual requirements were not 
understood by devout worshippers, whether clerical or laical, among the Hebrews 
(Luke i, 10). 

3. Withdrawing now to the inmost chamber, the Most Holy Place, which was 
the immediate abode of Jehovah, and debarred to all but the incumbent of the high- 
priesthood, we find naught therein save the Ark and its Mercy-seat, to body forth the 
invisible deity ; the one by the writings deposited therein, as an explicit record of 
moral principles ; and the other by the figures standing upon it, as a conventional 
type of natural laws. The high-priest himself is the representative of his entire 
order, and through it of the laity ; but since the one great Day of Atonement has 
passed, in which Jesus as the Christian's sole high-priest has entered into the actual 
and immediate presence of the celestial Glory, there is no need or room for any other 
mediator between the soul and God (Heb. ix, 11, 12, 24). The Yail is a type of his 
flesh (Heb. x, 20), rent at the crucifixion (Matt, xxvii, 51), so that all saints may 
now enter the Holiest boldly (Heb. x, 19), clad in the regalia of Christ's own right- 
eousness (Rev. xix, 8). 

VII. We conclude this branch of our subject, and with it our whole theme, by 
remarking that the crowning glory of the Tabernacle and its service lay — and was 
universally understood as lying, in the gradual scheme of divine revelation couched 
under the three modes of divine manifestation, which we have been considering. Let 
us dwell a little longer upon them in detail. 



* The phrase, "door of the tent" [not "taber- 
nacle]", so often used of the rendezvous of the people 
[i. e. of their representative heads] (Lev. viii, 3, 4, etc.; 
but not when spoken of the priests), was merely out- 



side the front screen of the court door-way, for it is the 
same word (pethach, lit. an opening) that is likewise 
applied to that of the building itself, but never to the 
inmost Vail. 



DIVINE COMMUNICA TIONS. 



1. The Shekinah* was intended merely to mark the divine abode and presence 
in some physical and visible manner, and conveyed no intimation of the divine pur- 
poses beyond what that simple fact implied. It manifested itself in two phases, each 
characteristic, and having two seemingly opposite traits : a brilliancy (significant of 
disclosure) and a smoke (indicative of concealment) ; in other words, the revelation 
was yet but partial. 

(1.) In the " pillar of a cloud by day and of fire by night," this contrast was by 
alternation ; the exhibit, however, was constant in one phase or the other. The 
object here was simply guidance in the journey, and therefore it was an index of the 
locality where Jehovah preferred his tent to be pitched, and when he wished it to be 
removed to some other spot. Hence it began with the first march, and ceased when 
the Tabernacle reached its last resting-place. At the passage of the Red Sea, it 
changed its position from the head of the marching column to the rear, in order to 
interpose a barrier between the Israelites and their pursuers (Exod. xiv, 19, 20, 21) • 
during the giving of the Law, it stood upon the summit of Mt. Sinai (Exod. xix, 
9, 16-20 ; xx, 18-21 ; xxiv, 15-18), whence it descended to the tent temporarily occu- 
pied as an office by Moses (Exod. xxxiii, 9, 10), returning to the summit of the 
mountain during the second interview there (Exod. xxxiv, 5) ; and on the com- 
pletion of the Tabernacle proper it took up its permanent station above the 
building, removing only during the march (Exod. xl, 34^38). It is therefore the 
emblem of divine revelation in its lowest or general aspect of social direction in 
the secular or semi-ethical crises of human affairs. The ordinary hazy hue may be 
compared to the quiet approval of heaven upon national or personal conduct when 
right ; and the flashes of lightning, which at times frightened beholders, may be the 
vindictive warnings of Providence against wrong-doing. (See also pp. 10, 86.) 

(2.) The occasional glow over the Mercy-seat was a token of a special condescension 
of Jehovah, less public, but still in view of some national or ecclesiastical act of 
devotion ; and is an emblem of the grace that prompts and rewards such an expression 
of religious quickening. Forlorn indeed is that state or church or individual of whose 
conscious centre it need be inquired, " Where [is the divine] glory ? " (1 Sam. iv, 21.) 

2. A more specific form of divine communication by the Almighty respecting 
the secrets of his administration is found in the mysterious Urim and Thummim, 
which, however manipulated, were resorted to only on special emergencies, chiefly 
public, but yet having a private bearing. They seem to correspond to the monitions 
of conscience in the natural heart, and to those of the Holy Spirit upon the renewed 
one — the two related like the eye and light to each other ; as they involved quite 
distinctly the subjectivity of the recipient (high-priest), who acted as a medium. 



*Late Heb. or Cliald. Shekinah, lit. a residence, the 
term invented (not Biblical) to describe what in the 
Bible is called only " the glory of Jehovah." It is 
spoken of as habitually "appearing" in public view 
on memorable occasions of divine intervention, 
especially in connection with the Tabernacle and 
other scenes in the Desert, and also at the dedication 



of Solomon's Temple. It is distinct from the special 
theophanies vouchsafed to the patriarchs and prophets 
of Old and New Testament times, as the latter were 
personal, and the other popular; these exhibited a 
bodily form, more or less distinctly human, while that 
was merely a light. In the Transfiguration of our 
Saviour the two aspects were blended and fulfilled. 



96 



SYMBOLISM OF THE TABERNACLE. 



3. Finally we have in the Decalogue, treasured in the archives of the sacred Ark, 
the clearest and fullest code of ethics ever divulged to humanity at large, and one 
which all later legislation or revelation, and all modern ingenuity or science, have not 
materially improved nor successfully impeached. Many illustrative applications and 
enforcements have been added, but the moral law as expressed in those ten command- 
ments stands unrivalled and unrepealed in every dispensation and among all save bar- 
barous people. Few are the evils of heart or life which their strict observance 
according to their true intent and spirit would not prevent or relieve. 

Our difficult and somewhat venturesome task is now accomplished in as brief 
space as any one could reasonably demand. We think we have made out our case 
without any special pleading, and have therefore a right to subscribe, Q. E. D.* 



* To borrow an illustration from a science generally 
regarded as furnishing the most commanding and 
irrefragable kind of proof, we may say that, as the 
coincidence of two arcs, figures or planes, in three 
points, especially if angular, is an absolute mark of 
equality or identity throughout, so the correspond- 
ence in our scheme of the Tabernacle with its Script- 
ural description in the three essential elements of 
metric outline, utilitarian adaptation, and dignified 
significance, is a conclusive attestation that the value 
of the hitherto unknown quantities has been truly 
ascertained. In order to eliminate any suspicion that 
even such an equation is accidental, we may further 
point to the fact that each of these three confirma- 
tions is itself triplicate or even compoundly so : the 
numerical statements or implications as to the ground- 
plan, the elevations, and the roof or wall coverings 
respectively, however separately and independently 
given or deduced, precisely tally in dimension ; the 
mechanical adjustment of the various parts, whether 
expressed — sometimes in full, sometimes laconically, 
sometimes merely hinted, — or understood, is at once 
systematic, simple and efficient; the ideal import of 
the whole, — from the Levitical court (with its roast- 
ing flesh), through the priestly fane (with its aro- 
matic fumes), into the pontifical shrine (with its 
celestial glow), — by the physical elements (drawn 
from all the realms of nature), the corporeal organisms 
(animal victim, human agent, or cherubic phantasm), 
and the conventional tokens (perpetual fire in the 
outer court, continual light in the Holy Place, and 
constant shade in the Most Holy), — in the liturgical 
apparatus (whether sacrificial fixtures, or costly im- 
plements, or gorgeous paraphernalia), — is admirably 
progressive, eminently instructive, and sublimely 



decorous. Nor is a single feature inconsistent, un- 
necessary or trivial in the entire category of details. 
A theory that so fully and fairly unites all the facts 
and principles must be sound; and in the nature of 
the case there can be no more convincing argument. 
The sacred record is the only testimony, its careful 
interpretation the best jurist, and common sense the 
highest tribunal. The ultimate verdict we are content 
to abide. In conclusion of this already extended 
note, which may seem to some of our readers to savor 
of overweening confidence, if not of consummate ego- 
tism, it is proper to add that we are well aware of 
the degree of assurance with which many of our pre- 
decessors on this subject have put forth their schemes 
of adjustment ; but we are sure that a number of 
them at least must have had secret misgivings of 
their sufficiency, although few have had the candor 
to avow (as Brown frankly does, p. 43; — he pro- 
ceeds, it should be borne in mind, on the flat-roof 
theory) their sense of inability to meet the require- 
ments of the case. We have the hardihood to assert, 
and we are conscious of no vanity in doing so, that 
our only apprehension in the matter is lest our read- 
ers may cursorily pass our explanations and reasons 
by, as ingenious and possibly plausible speculations, 
and may thus remain unconvinced for lack of real 
and thorough examination. We have no fear of 
their final assent (except of course that of the person- 
ally prejudiced, and especially of those already pub- 
licly committed to a different opinion), if they will 
only take the pains to verif} 1 - our positions by a 
careful comparison with the Scriptural statements 
and the mechanical and artistic demands of the 
case. To this the theme, if not the book, is fairly 
entitled. 



GENERAL INDEX. 



-The initials of authors referred to are given within parenthesis marks immediately after their principal name. 
Foreign words in the captions are set in italics. The letter n attached to the number of a page indicates a 
foot-note, and c denotes a wood-cut. 



Page. 

Aaron's rod of Almonds 58 

Acacia Seyal described w91, c91 

as a symbol 91 

, use of 18, 17. 21, 25, 41,44 

.-Esthetics of Divine Architect w90 

" Agate " explained 68 

Aholiab. assistant architect 9 

\\l interpreted rc28 

Almonds, Aaron's rod of 58 

" Almonds, like " explained 46 

Altar of Burnt-offering described IT 

— , position of 18 

— as a symbol 93, 94 

Altar of Incense described 44 

, its position 44, re48 

as a symbol 93, 94 

" Amethyst " explained 68 

Angels not cherubim «83 

not winged «83 

Ankle and Knob compared c25 

Ante-Sinaitic Tabernacle c33 

Antelope. (See Tachash.) 

Antilope baibatus n78 

Apartments symbolical 93, «96 

Arch of Titus at Rome 4, c4 

Argaman a shell-fish «16 

Ark of bulrushes 88, c90 

the Covenant described 54 

, its form 55 

, — position 84 

, — symbolism «87 

among the Philistines nlO 

said to have been hidden by 

Jeremiah 11 

Ark of Noah 87, c89 

Ashes of Great Altar ?il8 

Atonement, hieroglyphic of «80 

Attitude of cherubim 84 

Atwater (B. E.), " The Tabernacle " 7 

specially cited nil, w7S 

Bad. unbleached linen n\b 

" Badger " skins, where placed. (See Tachash). . 25 



Page. 

Bahr (K. "W. F.), " Symbol, d. M. Cultus " 4 

specially cited «72 

Bars, use of 18, 25, 41, 55 

" Basins " (of altar) explained' 18 

" Beaten work " explained n44 

"Beauty of holiness " explained 61 

Btdawin Sheik's dress c 61 

Bede, the Venerable, cited «72 

Bellermann (J. J.), " Die Urim " 6 

Bells on high-priest's robe 65 

Benesch (A.) cited «86 

Bernard of Cluguy cited «2 

" Beryl " explained w68 

Bezaleel, the architect 9 

"Bible Commentary" cited w75, «86 

Biiumen for the arks 88 

Black as a symbol 77 

Blood as a symbol ?u 9, 93 

" Blue " as a symbol 78 

, a violet. (See Violet.) .. 16 

"Boards" of Altar wl7 

Tabernacle 21 

Bold (S.), "De Divisione Decalogi " n59 

'• Bonnet " was a skull-cap. (See Head-dress.). 64 

" Border " (of ephod) explained 66 

(of table) explained 41 

" Bowls " (on candelabrum) explained 46, c47 

■ (of tabic) explained 43 

Brass, anciently unknown. (See Copper.) 13 

" Brazen " Altar described 17 

Braun (J.), " Vestitus Sacerdotum " 5 

Breaslplate of high-priest described 67 

" Breeches " were drawers. (See Drawers.). ... 62 

" Broidered Coat " explained «64 

Bronze, use of n\ 9 



Broom ("W. F.). " The Tabernacle " 

Brown (W.), " The Tabernacle " 

— speciall}' cited w22, 

Bynwus (A.), " De Calceis Heb." 



Oalov (A.), " De Urim " 5 



Candelabra, ten in Solomon's Temple 



10 



Candelabrum on arch of Titus 45 



98 



GENERAL INDEX. 



Candelabrum, concentric arrangement of c45 

, golden, described 44 

as a symbol 93, 94 

" Candlestick." (See Candelabrum.) 

Caravan routes across the desert k91 

" Carbuncle " explained «68 

Censers described ml8 

Chabar interpreted w27 

Change of high-priest's dress w77 

'•' Cliapiters " (of pillars) were caps 15 

Chashshuk interpreted n\ 5 

Chasuble of Roman Catholic priests 66 

Cherubim in general 36, «38 

, their form 55, c56 

, number «54 

, occurrence 36, 55, 56 

, posture 57 

, symbolism 82, k83 

not repulsive w83 

Ohoshen interpreted m67 

Circle as a symbol 81 

Clant (A.), " De Labro Tabernaculi." 5 

Clemens (H. G.), " De Labro Aeneo " 5 

Cloud of Fire. (See Pillar.) w86 

"Coat" was a tunic. (See Shirt.) 63 

Coccus cacti a Mexican product n!6 

Uicis described nl 6 

Cochineal a modern color ml 6 

Color, importance of 76 

, nature of «76 

, symbolism of. wl 6, 76 

Colored stripes in curtains «53. w78 

Colors of curtains 16, 36, c37, 75, «78 

, order of «78 n80 

Commandments, distribution of n58 

■ , negative 90 

"Compass" of the Altar explained wl8 

Conder (Lieut. C. R.) cited 10 

Conradi, " Tabernaculi Structura " 5 

Copper as a symbol 92 

tempered n92 

, use of 13, 14, 17, 19, 33, w92 

Corner boards described 22 

sockets, arrangement of c24 

" Coupling " explained nil 

Court of the Tabernacle described 12 

, as a symbol 93, 94 

" Coyer withal " explained 43 

" Covering " (of Tabernacle and Ark) explained. . w88 

Crimson described 16 

as a symbol 79 

" Crown " (of tables) explained 41 

Cubit as a base 75 



Page- 
Cubit, estimate of »12 

, natural type of 75 

rules, Egyptian n\Z. 

" Cunning work " explained ml6, 66 

" Curious " (girdle) explained w66. 

Curtains of court described 14 

— roof and walls compared 30, 34, w36. 

Curtiss (S. I.), " Levitical Priests " 5 

D' Aquine (P.), " Du Tabernacle " 8 

David's erection of a Tabernacle 10, e33. 

Day of Atonement as a type 94 

Decalogue, division of «58- 

as a symbol 96 

universal 88 

Decimal division 74 

Delitzsch (F.) cited n86 

De Wette (W. K. L.) cited w86. 

" Diamond " explained w66 

Dishes, different kinds distinguished wl9- 

" Dishes " (of table) explained 43. 

Door-screens as a symbol 93 

way curtain of court described 16 

Draught of the altar-fire 18 

Drawers of High-priest 64 

—Priests 62 

modern Oriental c62 

Dress of High priest 64, w77 

Levites 60. 

Priest 61 

modern Oriental c61 

Driessen (A.), " Mosis Tabernaculum." 5 

" Drink offering " explained «43 

Duodecimal division 74 

Duplicate division 75- 

Eden, a socket n\Z 

Edersheim (A.) cited k43, w66. 

" Edge " and " selvedge " distinguished w31 

Egyptian Temples 3 

Urim, 70 

'El interpreted w28 

Eleventh roof-curtain, its position 28 

Embroidery of curtains in general nl 6 

used 33, 36, 51, 66, 67 

" Emerald " explained «68 

Encampment, order of w49 

Entrance by raising curtain 17 

Epliod described 66, c67 

Egyptian c66 

Er Rahah, plain of 12 

Ewald (G. H. A.) cited «86 

Ezekiel's Temple 3 



GENERAL INDEX. 



99 



Page. 

Faces of cherubim «82 

Fat as a symbol, 93 

Fellah peasant's dress c6 1 

Fcrgusson (J.), " Temples of the Jews " 7 

— specially cited «25, ??26 

Fiery pillar. (See Pillar.) 

Figure, importance of 81 

"Fillet," a rod. (See Rons ) 15 

*' Fine twined linen," meaning of n\b 

Fingers, a natural number 74 

Fire maintained all night by Arabs «19 

perpetually on the Great Altar 19 

as a symbol »80, 93 

*' Fire pans " (of altar) explained wl8 

Flesh as a symbol 93 

"Flesh hooks" (of altar) explained »18 

" Flower " on Candelabrum 46, c47 

Fold in roof-curtain c3'l, n32 

Folds in side-curtains c38, c39 

"Foot " (of laver) explained «18 

" Forefront " explained «28 

Form, importance of 81 

Four as a symbol 75, «76 

Frankincense, use of. 42, 49 

Friederich (F.), ;l Symbol, d. Stiftshutte " 6 

— specially cited «72 

Frontlet of hight-pricst 65 

Fur as a symbol 93 

Furniture as a symbol 93 

Fiirst (J.) cited nS6 

Gable nearly covered by roof-curtain n29, c30 

Gebia interpreted 46, c47 

Geissler (C), " De Cherubim " 5 

Gems in breastplate 67, «68 

as a symbol 93 

Geruhard(G. F.), " De Nonoet Decimo Pru-cppto " «59 

Gesenius (F. H. W.) cited ra86 

Gibeon, high-place at 10 

Girdle of ephod 6G 

— High-priest 63 

— Levites 61 

— Priests 63 

modern Oriental 61, c63 

Goats'-hair for canvas 27 

as a symbol 93 

Gold as a symbol 79, 92 

use of 21, 25, 33, 41, 43, 44, 52, 55. 

56, 58, 65, 66, 67, 68, 69. 79 

Gore in corner of roof-curtains c31 

Granite of Mt. Sinai «57 

Grate of Altar 17 

Gray as a symbol 78 



Page. 

Great Altar described 17 

Green as a symbol 79 

Gum Arabic, source of w91, ra92 



" Habergeon " was a corselet 

Hatnm (J. ab), " De Ara Interiore", 

Head (B.V.) cited 

Head-dress of High-priest 

— Priest 

modern Oriental 



.61, 



Helix ianthina described 

Hendewerk (C. L.), " De Seraphim " 

Hengstenberg (E. W.) cited 

Herxheimer (S.) cited 

Hieroyram of colors 

High-priest's dress 

High-priest as a type 

Hirt (J. F.), " Primum Deealogi Prasceptum ".. . 

" Hollow with boards " explained 

Hoi} - of Holies described 

, its size 20, 

as a symbol 93 

Place described 

as a symbol 93 

Homer cited 

Hooks described 

used 15, 33 

il Horns " of the altar 

Hufnagel (W. F.), " Der Cherub " 



Incense, the sacred 

" Inclosings" (of gems) explained. 
Inscriptions, Assyrian and Kgyptia 



65 
5 
n'24. 
e65 
f64 
c64 
«16 
6 
»86 
n86 
k80 

64 

94 
w59 
nl7 

51 
«22 
i 94 

20 
, 94 
n92 

15 
, 52 

17 
6 

59 
«67 



" Jasper " explained w68 

Jebel Ahisa, summit of 12 

Josephus (F.) cited 3, n!6, 18, 22, w23, «25. 

w45, ?;46, «65, «66, w71 



Kaiser (T. P. C), " De Cherubis " 

Kalisch (M.) on Exodus 

— specially cited 

Kaphal interpreted n28, 

Kapporeth defined 

Knphtor interpreted 46, 

Karlwb, the rim of the Altar 

Katheph interpreted 

Katsah and saphah distinguished «31, 

Keil (C. F.) on Exodus 

specially cited, nlO, ?;22, ?;59, reTO, »73, 

Ken, the base of the Laver 

Kepler (J.) cited 

Keres interpreted 



lOO 



GENERAL INDEX. 



Page. 

Kirjath-jearim, Ark at n\0 

Kitto (J.), " The Tabernacle " 8 

— " Pictorial Bible " 5 

Kiyor interpreted w!9 

Knobel (K. A.) cited m86 

Knobs, copper, form of. w25 

. height of 25, 28 

■ — ■ , number of. «40 

, place of ?i40 

golden, form of m25 

, height of n52, w53 

. number of 40 

, place of ra40 

" Knops " on Candelabrum 46, c47 

" Lace " (of frontlet) explained w65 

Ladder-rounds compared «2 1 

Lamps on Candelabrum 47, c48 

Lamy (B.), " De Tabernaculo Foederis" 5 

Lange (J. P.) cited «73, «86 

Laver described 19 

, its "foot" rcl9 

, — position 19 

probably broken up 10 

replaced in Solomon's Temple 11 

as a symbol 93, 94 

Law, copy of, found by Josiah 11 

Layard (A. H.) cited n33, «57 

Leeser (I.) cited ?i86 

Legends, Assyrian and Egyptian «8 1 

Leone (J. J.), "Del Aica" 5 

" De Chcrubinis " 5 

; ' Van den Tabernackel " 8 

Lepsius (R.) cited n\ 3 

Lid of the Ark as a symbol w84 

Licbentanz (M.), " De Manna " «92 

" Ligure" explained w68 

Liuen as a symbol 92 

, bleached and unbleached ml 5 

Lion in Zoological Gardens w83 

Literature of the subject. . .3, «12, «58, w59, ?t79, w92 

" Looking-glass " was a metallic mirror 19 

Loops on roof-curtains c29, w30, w31 

— ; side curtains c37, 38, ?i39, c40 

Lund (H.), " Antiq. II eb." 5 

— specially cited «72 

Machtoth were fire-pans «18 

Madden (P. W.) cited n23 

Makseh interpreted w26 

Manna identified «92 

, pot of, preserved 58 

as a symbol 92 



Page. 

March, order of «5 1 

Mathematical demonstration.. .w28, 40, w53, w54, w96 

McLeod (A.), " Cherubim " 6 

Meal as a symbol 93 

" Meat offering " explained «43 

MeU interpreted «28 

Mel (G.), " Besehr. d. Stiftshiitte " 5 

Mercy-seat described 55 

" Mercy-scat " an incorrect phrase «S;> 

Meshullab interpreted ?i2 1 

Metallic sheets, manufactured m45, k46, 49, 56 

Metallurgy, Egyptian «12, n91, n92 

Michaelis (J. H.) cited w86 

" Midst of the altar " explained nl8 

Migne (abbe) cited «73 

Millemalah interpreted w26 

Mines of Surabet el Khadim w91 

Mirrors, Egyptian «19 

Mishbetseth interpreted w67 

Mishkan and Ohel distinguished «9 

" Mitre " was a turban. (See Tcrbax.) 64 

Mizpeh, Tabernacle at ] 

Moses's tent the first Tabernacle 9 

Moshzar interpreted m15 

Murphy (C. F.) on Exodus 5 

Names of tribes, order of n67, m68 

Natural types 13, w21, ?*25, c47, 74 

" Network " (of altar) explained wl7 

Neumann (W.), " Die Stiftshiitte " 6 

Nob, Show-bread at 10 

Octagonal tent w33 

" Of the same " explained 17. 56 

Ohd and Mishkan distinguished w9 

Oil for candelabrum 47 

— , holy, of unction 60 

— as a symbol 93 

One as a symbol » 75 

" Onyx " explained w6& 

Order, importance of «76 

" Ouch " explained w67 

Pailloux (X.), " Monographic du Temple " 5 

Paine (T. O.), ' ' The Tabernacle," etc T 

specially cited, k3, «7, «14, m15, w17, 

nl8, 23, m25, n26, «28, w30, n'S2, «49> 

Palmer (E. H.) cited nit 

"Pans " (of altar) explained ii\ 8' 

Peak-roof necessary 26; 

Ptrach interpreted 40, c-i 7 

Peringer (G.), " Historia Tabernaculi " 5. 

Philo Judasus cited ?;42, »<7 L 



GENERAL INDEX. 



101 



Page. 

Picture-lessons 73, n't 4, w80 

Pillar of Cloud in general «86 

, its appearance nl 

, the signal for marching 10 

and tire as a symbol 95 

Pillars of Court described 13, cl4 

, their distribution nli 

, their face wl6 

Pins. See Tent-Pins. 

" Pitch " for the ark 88 

Poole (R. T.) cited ra24 

Pomegranates on high-priest's robe 65 

Poppe (J.), " DieStiftshtitte" 8 

Pot of manna in Ark 58 

Prayer-book cited 87 

Priestly dress 62 

Propitiatorium discussed w85 

Proportion, importance of «74, «76 

•' Pulpit Commentary " cited n73 

Purple as a symbol 79 

, a Tyrian dye 16 

Quadrangle as a symbol 

Quadruple division 75 

Rain at Sinai nil 

Rams'-skins, where placed 26 

as a symbol 93 

Randall (D. A.), ' ' Ham-Mishkan " 8 

specially cited n!2 

Ras Sufsafth, summit of 12 

Ran (S.), " Nubes super Area " 6 

Rebus of colors «80 

Recchiti(J.), " Ham-Mishkan " 8 

Rectangle as a symbol 81 

Reland (A.), " De Spoliis Templi " 4 

specially cited c 41 , 45, c 45, 48 

Revelation foreshadowed 94 

Rhind ("W. G.) " Tabern. in the Wilderness " 6 

Ridgaway (H. B) cited .• ra27 

Ridge pole or rope unnecessary 32 

Riggenbach (C. J.), " Die Siiftshiitte " (i 

Rings for bars of walls 25 

— grate of altar 17 

use of 17, 25, 41, nU, 55 

Robe of high-priest described 65 

Rod of Aaron, miraculous 58 

Rods of court described 15 

, none for the Vail 52 

, use of 15, 33, 52 

Roof of Tabernacle not flat 26 

Roof-curtains as made up c29 

Rope as a symbol. (See Stay-cords) 73 



Page. 

Rosenmiiller (J. G.) cited «86 

Rotundity as a symbol 81 

Rounds of a ladder compared «21 

Rugs of fur under the furniture «18 

Saalsehutz (J. L.), " Heb. Archaol." 5 

" Sacred " numbers «74 

Salt, use of w42 

as a symbol 93 

Sanctuary described 19 

— , its dimensions «22 

Sandals not worn by priests 60 

Saphah and Katsah distinguished w31, ?<68 

" Sapphire " explained m68 

" Sardius " explained nGS 

" Scarlet," a crimson 16 

as a symbol 79 

Schlichter (C. L.), " De Lychnucho " 6 

, " De Mensa Facierum " 6 

- . '-DcSuffitu" 6 

Schmuck (V.), " De Decalogi Distributione " n59 

Scholt (W.) cited «86 

Schulteus (A.), "Mysterium Tabernaculi." 5 

Scott (Sir W.), hymn cited w86 

Sea-shells the source of purples 93 

" Selvedge " explained w3 1 

Sennert (A.), " De iis qu?e fuerunt in Area " «58 

Senses, symbols adapted to nil 

Septenary division 74 

"Set in order" (of tenons) explained w21 

" Settings " (of stones) explained w67 

Seven as a symbol 74, w76 

Sex as a natural number 75 

Seyal described n21 

Shani, the crimson grub m16 

Sharpe (S.) cited k86 

Shekel determined n2?> 

" Shekinah " explained m95 

as a symbol 84, 95 

Shesh, bleached linen «15 

Shiloh, Tabernacle at 10 

Shirt of High-priest 64 

Levites 60 

■ — Priests 63 

modern Oriental 60, c62 

Sliiitah and Shittim distinguished 13, «91 

identified. (See Acacia.) 13, 17, 21, w91 

Shoham interpreted w66 

Shoulder-stud of ephod 66 

" Shovels " (of altar) explained 18 

Show-bread described 42 

at Nob 10 

as a symbol 93 



102 



GENERAL INDEX. 



Page. 

Shrubs burned by monks of Sinai rJ9 

" Side " (of ephod or tablet) explained m68 

Side-curtains, their length 36 

Silk an alternate for gold 93 

Silver, use of 15, 23, 52 

as a symbol 92 

trumpets described c41, 48 

Simpson (F. &.), " Lectures on the Tabernacle ". . 6 
Sinai an Egyptian penal station «91 

Mt., described 12 

Sixth roof-curtain, its position 28 

Skins, use of 18, 26, w51 

as a symbol 93 

of walls carried up above the eaves n'i'2 

Smith (G.), " Doctrine of Cherubim " 6 

" Snuff dishes " explained 47 

" Socket " explained nl3 

Sockets described. 13, 23 

, their dimensions w23 

Solomon's Temple , 3 

Soltau (H. W.), " The Tabernacle," etc 7 

"Span" explained ?j13 

Spice as a symbol 93 

Spices used 59 

" Spoil " of the Egyptians by Israelites w90 

" Spoons " (of table) explained 43 

Square as a symbol w81 

Stay-ropes necessary 14, 15, 25, 34 

Staves. See Bars. 

Stephens (W. E.), " Christ in the Tabernacle "... 8 

Stiebretz (J. F.), "De Urim " 6 

Stillmann (G.), " De Candelabra " 5 

Stone of the Table of Law ?z57, «59 

— Decalogue symbolical m84, 90 

Stones on high-priest's dress . - 66, 67, «68 

Stories in Noah's ark «88 

Stripes of curtains in general n\ 6 

Stromeyer (J. J.), " Harmonia Decalogi " w59 

Symbolism, schemes ot «71 

" Tabernacle of the Congregation " explained. . . 9 

, Ante-Sinaitic 9 

, Davidic 10 

Table of Show-bread described 41 

as a symbol 93, 94 

Tables of the Law described 57 

, their material w57 

, weight w58 

, size ra58 

, division «58 

Tachash interpreted «26 

identified »,78 

skins as a symbol 93 



Page. 

" Tache " was a knob. (See Knobs.) r<25 

Tebah interpreted «86 

Tekeleth a shell-fish n \ 6 

Temple of Solomon built l o 

Ten as a symbol 74 

Tenons in planks, their position w2l 

" Tent " and " Tabernacle " distinguished nd 

, Oriental, described c27, w32 

pins used ] A , 25, 33, 34 

" Tenth deal " explained 42 

Teraphim, Hebrew 70 

Thalemann (C. W.), " De Nube " 6 

Tholuck (F. A. S.) cited «86 

Thorny bush as a symbol 91 

Three as a symbol 75, w76 

Thummim interpreted w69 

Thym (G.), "Labrum Aeneum " 5 

Tolaath an insect n\ 6 

" Tongs " explained 48 

" Topaz '' explained «68 

Transportation of Tabernacle 49 

Travel across Sinai lie peninsula «91 

Triangle as a symbol w8 1 

Tribes, order of «67, w68 

Triple division 75 

Tristram (H. B.) cited w91 

Trumbull (H. C.) cited w79 

Trumpets, silver, described c41, 48 

, as a symbol 92 

Turban, Oriental ' 61, c65 

" Twined " explained w37 

Twelve as a symbol 74, m76 

Two as a symbol 75 

Two-fold covering 34 

Tympe (J. G.), "Tabernaculi Descriptio " 5 

Types in nature of various articles. 13, c21, c25, c47, 74 

Unity as a division 75 

Urim interpreted 69 

explained 69 

. form of «70, m83 

, manipulation of «70 

as a symbol nS'.i, 95 

"Vail, inner, described '. 51 

. , its position 52 

as a symbol «32, c'A'i 

type 94 

Van Til (S.), " De Tabernaculo Mosis " 5 

Vav, a hook. (See Hooks.) »15 

Velthusen (J. K.), " Von d. Chernbinen " 6 

Vessels of the Great Altar 18 

Show-bread table 4:i 



GENERAL INDEX. 



Page. 

Vessels carried to Babylon 11 

restored to Jerusalem 11 

Violet described 16 

as a symbol 78 

Wagons for transportation 49 

Walther (C), " De Tabulis Lapideis " w59 

Wangermann (T.), " Die Stiftshiitte " 8 

Warp always of linen n\ 6 

Washing of hands, Oriental wl9 

Water as a symbol 93 

Week as a natural number 74 

Weimar (D.), " De Suffltu " 5 

Werner (J. B.), " De Propitiatorio " 5 

Wheels of cherubim 82 

Whiston (W.) cited nl6, w65 

White as a symbol 77 

Wilkinson (Sir J. G.) cited ml 2, «19, n42, 

ra47, w57, 60, «70, «90 

" Window " in Noah's ark 88 

Wings not on angels w83 



Page. 

Wings of cherubim 84 

Wine not to be drunk «43 

as a symbol 93 

Witsius (H.) cited n72 

Wolf (C. G. P.). " D e TJrim » 6 

Wolfrum (V. W.), " De Decalogi Distributione ". . k59 

Wood as a symbol 91 , 92 

Wooden Walls cl9, c36 

Woof of colored wool nl6 

Wool used for colored woof. wl6 

as a symbol 93 

" Worm " the source of crimson 93 

" Wreathen chains " explained 67, c69 

Yellow as a symbol 79, «81 

Tether, a tent-cord. (See Rope.) wl4 

Ziegra (G. D.), " De Oleo Sacro " 5 

Zion, Mt, Tabernacle on 10 

Zunz (L.) cited w86 



Passages of Scripture Illustrated. 



GENESIS. 

Page 

iii, 21 7(63 

iii, 24 w55, «84 

vi, 16 38, 77,88 

vii, 16 w88 

vii, 20 7726 

viii, 5 88 

viii, 6 88 

viii, 11 88 

viii, 13 n26, 88 

ix, 4-6 79 

ix, 12-16 «16 

ix, 13 7780 

xx, 5, 6 w69 

xxviii, 12 «80 

xxx vii, 3 •. . w63 

xxxvii, 25 «91 

xlv, 19-27 w49 

EXODUS. 

ii, 35 «87 

iii, 1 w91 

iii. 2 «91 

iii, 5 60, 92 

iii, 12 77IO 

iii, 22 w50 

xi, 2 «50 

xii-xix m51 

xii, 33-36 w51 

xii, 35, 36 n90 

xiii, 17 «91 

xiv, 19, 20, 24 95 

xiv, 20 «10, ?i86 

xvi, 15 92 

xvi, 33, 34 58 

xix, 9, 16-20 95 

xx, 2-27 ?/58 

xx, 18-21 95 

xx, 24 ?il 8 

xx, 24. 25 17 

xxiv, 15-18 95 

xxv, 4 ml 6 

xxv, 9, 40 7i37 

xxv, 10-22 55 

xxv, 11, 12 7(57 

xxv, 19 7752. 56 

xxv, 20 57. 85 

xxv, 20, 24 41 

xxv, 25 41 

xxv, 27.. w85 

xxv, 30 42 

xxv, 31-40 44 

xxv, 35 7(46, w52 

xxv, 40 3 



Page 



xxvi-xxvm 3 

xxvi, 1 36, ntH 

xxvi, 1-6 34 

xxvi, 1, 6 7i36 

xxvi, 3 ?i28 

xxvi, 3, 9 «34 

xxvj, 7 7i26 

xxvi, 4, 5. .7*30, m31, «35 

xxvi, 5 7i34 

xxvi, 6 7*34, 40 

xxvi, 6-11 w28, 35 

xxvi, 7 «36 

xxvi, 9 28, 7728 

xxvi, 10 7j28, 30, w31 

xxvi, 11 31, 7*36 

xxvi, 11, 13 25 

xxvi, 12 7(28, 31, 7(31 

xxvi, 13 w2S, «36 

xxvi, 14 7(36, 7*88 

xxvi. 15 21 

xxvi. 16 21 

xxvi. 18, 20....:.. . 21 

xxvi, 19 23 

xxvi, 19, 21, 25 24 

xxvi, 22 21 

xxvi, 24 23 

xxvi, 25 21 

xxvi, 26-29 25 

xxvi, 26, 27 42 

xxvi, 27 «25 

xxvi, 29 7(25 

xxvi, 30 7)37 

xxvi, 31-33 51 

xxvi, 32 24 

xxvi, 33 52 

xxvi. 36 33 

xxvii, 1, 8 17 

xxvii, 2 17 

xxvii. 3 18, 47 

xxvii, 4 17 

xxvii, 5 18 

xxvii, 6, 7 18 

xxvii, 8 7717 

xxvii, 9-16 7714 

xxvii, 10-18 «13 

xxvii, 10-12 14 

xxvii, 10 7735 

xxvii, 10, 12, 17.... 15 

xxvii, 12, 13 7(14 

xxvii, 13, 14 wl4 

xxvii, 14, 15 15 

xxvii, 16... ml4, 16, w78 

xxvii, 18 13 

xxvii, 19 14 





Page 






Page 


xxvii, 20 


47 


xxxviii, 5-7 


18 


xxvii, 25-28... 


44 


xxxviii, 7. 




77,17 




60 


xxxviii, 8. 
xxxviii, 9- 






xxviii, 4 


w64 


9 


77,14 


xxviii, 5 


w78 


xxxviii, 12, 


13 


«14 




«78 






7714 

15 


xxviii, 15 


w78 


xxxviii, 17, 


19 


xxviii, 20 


m64 


xxxviii, 18 


7728 


77.78 


xxviii, 22-28.. 


m68 


xxxviii, 18- 


-19 


77,14 


xxviii, 24 


7764 


xxxviii, 27 


23 


?i78 


xxviii, 30 


»69 


xxxix, 2, 3 




«78 


xxviii, 31, 32.. 


7765 


xxxix, 5.. 




7770 


xxviii, 33 


w78 


xxxix, 6.. 




7i67 


xxviii, 39 

xxviii, 40-43. . 


7764 

...62, 7i64 






«78 


xxxix, 13 . 


66 


7767 


xxviii, 42. 


7764 


xxxix, 24. 




w78 


xxix, 8, 9. . . . 


62 


xxxix, 27-29 


7764 


xxx, 1-5 


44 






7778 


xxx, 4 


.... 7*52 


xxxix, 33. 




7(49 


xxx, 6 


44 


xl, 3 




44 


xxx, 7-10 


44 


xl, 17 




9 


xxx, 7 


47 


xl, 19 


26 


w36 


xxx, 8 


47 


xl, 22 




41 


xxx, 18 


19 


xl, 24 




44 


xxx, 19-21.... 


19 


xl, 29 




7(19 


xxx, 19, 21.. . 


19 


xl, 34-38.. 




95 


xxx, 25 


7760 










60 


LEVITICUS, 
viii, 3, 4 




xxxv, 35 


w78 




xxxi, 26 

xxxi, 18 


9 
.... 57 






7(69 


x. 9 




7743 


xxxiii, 7 


9 


xi, 9-12... 




»78 


xxxiii, 9, 10... 


.... 95 


xvi, 4 




7i64 


xxxiii, 18-23.. 


86 








xvi, 11, 12. 
xvi, 12.. . 




60 


xxxiv, 5 


.... 95 




48 




. 57 






7(76 


xxxv-xl 


3 


xvi, 18 


44. 


7776 


xxxv. 6-23.... 


.... w78 


xvi, 23 




7733 


xxxv, 18 


14 


xix, 19 




7735 


xxxvi, 8 


..36, M78 


xxiv, 2 . . . . 




7742 


xxxvi, 8-19. . . 


.... 7736 






42 


xxxvi, 8-18. . . 
xxxvi. 8-13. . . 


w30 

.... 7734 




42, 


43 








xxxvi, 10, 18.. 


.... 7(34 


NUMBERS. 




xxxvi, 12 


7734 


11, IV, Vll. . . 




7750 


xxxvi, 13 


.... w34 


iv, 32 




7749 


xxxvi, 22 

xxxvi, 35, 36.. 


. . . w21 
.... 51 






7i43 


vii, 3-8 




?(49 




7715 


vii, 13 




43 


xxxvii, 1-9. . . . 


55 


vii, 14 




43 


xxxvii, 10, 11 ... 


41 


viii, 4 




?(37 


xxxvii, 17-24. . 
xxxvii, 21 


.... 44 

7746 






48 


xi, 8 




7720 



PASSAGES OF SCRIPTURE ILLUSTRATED. 



105 



Page 

xvi, 38, 39 nl 8 

xvii, 10 58 

xxvii, 21 rc69 

xxxii, 38 «67 

xxxiii «51 

DEUTERONOMY. 

iii, 11 ; nVo 

v, 6-21 n58 

ix, 7-24 90 

ix, 10 57 

x. 1, 2 »87 

x. 5 57 

xiv, 9, 10 «78 

xvii, 6 w84 

xx-ii, 11 n35 

xxxi. 16-27 90 

xxxi, 26 57 

xxxii, 11 57 

xxxiii, 8 n69 

JOSHUA. 
xviii, 1 10 

JUDGES. 

vi, 19 w20 

xiii, 20 m83 

xiv, 19 m63 

i SAMUEL. 

ii, 14 »20 

iii, 3 47 

iv, 3 11 

iv, 4 10 

iv, 21 95 

vi b10 

vii, 1 ralO 

vii, 2 nlO 

vii. 6 10, wlO 

ix, 12 10 

ix, 14 ralO 

x, 3 10 

xiv, 3 ?*70 

xiv, 19 «70 

xx, 6 10 

xxi, 1-6 10, «42 

xxi, 6 42 

xxi, 7, 9 10 

xxii. 11 10 

xxii. 18 ?i70 

xxiii, 2, 4 «70 

xxiii, 2, 4, 6 n70 

xxiii, 6 k70 

xxiii, 9-12 ftTO 

xxviii, 6 n69, «70 

a SAMUEL. 

v, 19, 23 w70 

v, 23, 24 n70 

vi ralO 

vi, 6, 7 k55 

vi, 17. 10 

vi, 19 «42 



Page 

vii, 2 10 

xiii, 18 «63 

xv, 11 b69 

xv, 24-29 nlO 

xxi, 1 n70 

xxii, II h55 

i KINGS. 

iii, 4 10 

vi 3 

vi, 8 w30 

vi, 22 44 

vi, 23-29 «55 

vi, 23, 24 «52 

vi, 35 56 

vii, 23 wl 5 

vii, 23, 27 11 

vii, 28-36.. w41 

vii, 28, 29 «21 

vii, 30-43 b20 

vii, 48 10 

vii, 49 10 

viii, 8 55 

viii, 9 58 

viii, 11 «85 

viii, 12 75 

ix, 4 w69 

xxii, 34 »67 

2 KINGS. 

vi, 17 w83 

viii, 15 wl7 

x, 7 n20 

xii. 9, 10 re55 

xii, 18 11 

xvi, 17 «20, w41 

xviii, 16 11 

xxii, 8 58 

xxiv, 13 11 

1 CHRONICLES. 

ix, 32 42 

xiii-xvi nlO 

xvi, 1 10 

xvi, 29 w61 

xvi, 39 10 

xvii, 1 10 

xxi, 29 10 

xxviii, 11 7i85 

xxviii, 11, 12,19 3 

xxviii, 17 k43 

2 CHRONICLES. 

i, 3-6 10 

ii, 7, 14 n78 

iii. iv 3 

iii, 10-13 ?z55 

iii, 13 5V 

iv, 6, 14 «20 

v, 5 10 

vi. 13 n20 

xviii, 33 «69 



xx, 21... 
xxv. 24.. 
xxviii, 24. 
xxix, 18. . 
xxxiv, 15. 
xxxvi, 7 . . 



Page I 
b61 ! 
11 ; iii, 23. 



-11 



ii, 63 «69, 

v. 14, 15 

vii, 19 

viii, 33 

NEHEMIAH. 



iv, 6 

xxi, 23 . . . 
xxiii, 8, 9. 
xxviii. 6 . . 
xxix, 14.. 
xii, 20.... 



Vil. 8 

xix, 1-4. . . 
xxv, 21... 
xxvi, 1, 11 
xxix, 2 . . . . 
xii, 12.... 
xiv, 13.... 



lxxvii, 17. 
lxxviii, 72 
lxxxi, 6. . . 
Ixxxv, 10. 

ci, 2 

civ, 6 

cxxxii . . . . 
cxxxii, 6 . . 



PROVERBS. 



»69 
w61 
n69 
«67 
«86 
w86 
w69 
w20 
w84 
«69 
«83 
ralO 
10 



vi. 2 

vi, 2-7.. 
xxii, 18. . 
xxii, 21 . 
xxiv, 15. 
xxxi, 9. . 
xliv. 14. 
xlvii, 9.. 
1. 11 .... 
lxii. 3... 



Page 
W64 
w55 
«83 
ra57 
n64 
w63 



«69 
n69 



w64 



w44 



/« 20 



JEREMIAH. 

x, 5 : 

xvii, 1 

xxiv, 2 

xxxi, 33 m85 

xxxi, 33 ' 90 

Iii, 18, 19 11 

Hi, 21 wl7 

EZEKIEL. 



i, 5-14 


w56 




w56 


i, 9. 11 


84 


i, 10 


w55 


i, 15 




i, 23, 24 

i, 24, 25 

i, 26 


84 

84 

w55 

m69 




no5 




w55 


x, 1, 4 


«55 

«55. 




n5o 


x. 23 


w55 

«78 




m64 


xxxiii, 3 

xl-xlii 

xl 


92 

3 

«55 




nl3 




n55. 


xii. 24 


w67 



DANIEL. 



V, 2, 



", 1 «69 ix 21 

iii, 3 90 

vii, 3 90 MICAH. 

viii. 15, 16 «84 \[\ 3 

x, 9, 29 «69 

xiii, 6 n69 ZECHARIAH. 

xix, 1 n69 iii ; 5 

xx, 7 «69 vi, 1-8 

xxviii, 6 



w64 

rc82 

xii, 6 «20 



CANTICLES. MATTHEW. 

i, 5 27 i, 17 nU 

v, 11-15 «63 v, 17, 18 «85 

v, 15 nl3, w!5|v, 21, 22, 28 90 



PASSAGES OF SCBIPTTJRE ILLUSTRATED. 



Page 

xvi, 18 «82 

xvii, 4 73 

xxii, 11 b60 

xxvii, 51 94 

xxviii, 3 «83 

LUKE. 
xxiii, 34 «86 

JOHN. 

i, 5, 9 rc83 

i, 14 73 

i, 18 75, «83 

vi, 31-35 92 

■viii, 12 n83 

xi, 51 nld 

xvi, 7 ra84 

jcix. 23. «65 

ACTS, 
ii, 33 n84 



ROMANS. 

Page 

iii, 25 w85 

vii, 7-13 90 

i CORINTHIANS. 

x, 2 rc86 

xiv, 8 92 

3 CORINTHIANS. 
iii, 3, 7 w84, 90 

GALATIANS. 
iv, 6 »84 

COLOSSIANS. 
i, 26, 27 »80 

I TIMOTHY. 
vi, 16 75 



Page 
HEBREWS. 

i, 3 75 

ii, 17 m85 

iv, 12 90 

viii, 10 90 

ix, 4 44, 58 

ix, 5 «85 

ix, 11, 12, 24 94 

ix, 22 79 

x, 12 «84 

x, 16 90 

x, 19 94 

x. 20 94 

xii, 24 m84 

JAMES. 
ii, 13 /,84 

I PETER. 

ii, 5, 9 94 

3 PETER. 
i, 13, 14 73 



Page 

ii, 5 87 

iii, 6 87 

i JOHN. 

i, 5 75 

ii, 2 w85 

iv, 10 «85 

REVELATION. 

i, 6 94 

iv, 6-9 55 n, w83 

iv, 6, 8 82 

iv, 7, 8 ra57 

v, 1 «85 

v, 9, 10 «80 

viii, 6 92 

viii, 13 w83 

xii, 14 ?i83 

xiii n56 

xiv, 6 1(83. 92 

xix. 8 94 

xxi, 16 rc85 

xxi, 17 nl3 



PRAISE-YE JAH 



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